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THEORAN
ECONOM
E
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Felipe Buitrago Restrepo
Iván Duque Márquez
@pitragor
Felipe Buitrago is a consultant at the IDB’s Culture, Solidarity and Creativity Affairs Division. For over eleven years, he has
worked on the development of the Orange Economy from various angles: as advisor in the Ministry of Culture of Colombia, program manager in the British Council, director of the
Ibero-American Observatory of Copyright (ODAI), independent
consultant and university professor. His experience in over a
dozen countries around the world includes research, multilateral negotiation, and the design and evaluation of public policy
and development programs. He has collaborated on the development of numerous creative economy studies, including the
Creative Industries Mapping of Bogotá and Soacha (2002), Creative Lebanon (2009), and Una Ventana a la Economía Creativa
de Valparaíso (2010). Buitrago is an economics graduate of Los
Andes University (Bogotá), a passionate amateur historian, and
holds a Masters in International Public Policy from Johns Hopkins University – SAIS.
On the roads to new knowledge.
Adorno, the imaginative German philosopher, introduced
us to the concept of the “knowledge economy” within
the context of philosophy. This book aims to advance a
related philosophical inquiry that can inspire all people.
The Orange Book that you hold in your hands is a lamp
through the murky terrain of the new economy and a
compass for those who want to understand its mysteries.
President of Colombia (1982-1986)
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ECONOM
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ECONOM
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Cataloging at the source by the
Felipe Herrera Library
of the Inter-American Development Bank
The Orange Economy.
p. cm.
1. Cultural industries-Economic aspects-Latin America. 2. Cultural industries-Economic aspects-Caribbean Area. 3. Creative ability-Economic
aspects. 4. Creative ability in business. 5. Economic development-Latin America. 6. Economic development-Caribbean Area. 7. Intellectual
property. I. Inter-American Development Bank. Office of External Relations. II. Title. III. Series.
IDB-MG-165
Publication code: IDB-MG-165
JEL codes: Z11, O34, F63
The opinions expressed in this publication are those of the authors and do not necessarily reflect the views of the Inter-American Development
Bank, its Board of Directors, or the countries they represent.
The unauthorized commercial use of Bank documents is prohibited and may be punishable under the Bank’s policies and/or applicable laws.
Copyright © 2013 Inter-American Development Bank.
This work is licensed under a Creative Commons IGO 3.0 Attribution-NonCommercial-ShareAlike (CC IGO 3.0 BY-NC-SA) license
(http://creativecommons.org/licenses/by-nc-sa/3.0/igo/legalcode).
This work may be reproduced with attribution to the IDB and for any non-commercial purpose in its original or in any derivative form.
Notwithstanding, any and all derivative works must be (i) licensed under the same terms as the original; and (ii) submitted to the IDB in .PDF
format. The IDB, in its sole discretion, will determine whether to display and make the derivative works publicly available through any of its digital
resources, including websites. Submissions must be made through the following email address: idbcreativity@iadb.org. The IDB is not liable for any
errors or omissions contained in derivative works and does not guarantee that such derivative works will not infringe the rights of third parties.
Any dispute related to the use of the works of the IDB that cannot be settled amicably shall be submitted to arbitration pursuant to the UNCITRAL
rules. The use of the IDB’s name for any purpose other than for attribution, and the use of IDB’s logo shall be subject to a separate written license
agreement between the IDB and the user and is not authorized as part of this CC-IGO license.
Note that link provided above includes additional terms and conditions of the license.
Inter-American Development Bank
1300 New York Avenue NW
Washington, DC 20577
This document was prepared for the Inter-American
Development Bank (IDB) by Felipe Buitrago and Iván Duque of
the External Relations Office (EXR).
English translation and edition with the financial support of the
Caribbean Countries Department (CCB).
Contact
Felipe Buitrago (pedrobui@iadb.org - pitragor@gmail.com)
Iván Duque (ivand@iadb.org - ivanduquemarquez@gmail.com)
Translation to English: Felipe Buitrago and David Holland
(dcholland@vcu.edu)
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Editorial direction: Andrés Barragán
Art direction: Mateo L. Zúñiga
Layout and paging: Erik Naranjo and Julián Güiza
Icons used in this book were taken from thenounproject.com and were
created by Joe Harrison, Thomas Le Bas, Benoit Champy, Hagen Merak, Kyle
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y Pavel Pavlov.
Inter-American Development Bank, IDB
Warning!
The book you have
in your hands
is not
a conventional
text.
7
This manual has been designed and written with
the purpose of introducing key concepts and areas
of debate around the “creative economy,” a
valuable development opportunity that Latin
America, the Caribbean and the world at large
cannot afford to miss.
The creative economy, which we call the “Orange
Economy” in this book (you’ll see why),
encompasses the immense wealth of talent,
intellectual property, interconnectedness, and,
of course, cultural heritage of the Latin American
and Caribbean region (and indeed, every region).
At the end of this manual, you will have the
knowledge base necessary to understand and
explain what the Orange Economy is and why
it is so important. You will also acquire the
analytical tools needed to take better advantage
of opportunities across the arts, heritage, media,
and creative services.
This manual may or may
not be read continuously
or consecutively.
Every letter and every symbol
has been carefully placed to
share essential knowledge.
It presents ideas instead
of paragraphs. It
displays information
instead of data.
It contains concepts
instead of images.
And overall:
It is meant to
empower You,
the reader,
to make use
of it as your
own tool.
That’s why there’s so much white space, so
you can use it to take notes, customizing its
content to develop your own ideas.
Now, please consider the following
three recommendations
so you can
“squeeze all
the juice”
from this orange book:
The additional information presented in the orange
boxes enriches the idea presented in the page in which
it is located, providing a necessary explanation of a key
concept or a peculiar fact.
The QR codes you’ll find
throughout this manual will
take you to documents and
videos that are complementary
to the conversation. If you don’t
have a QR code reader, you can
download one for free from:
-www.beetagg.com/en/
download-qr-reader/
-http://get.beetagg.com (direct to
your mobile)
The appendices contain
compressed URLs created
especially for You. The only thing
distinguishing one from another is
its specific appendix number. For
example:
- www.bit.ly/###apend
Please enjoy.
Content
The invisible orange | 15
What is the Orange Economy? | 33
The orange opportunity | 51
The size of the orange | 83
How much for an orange? | 93
The orange ecosystem | 137
The 7i: ideas for the development of
the Orange Economy | 159
Squeeze the orange | 195
Appendices | 217
There’s nothing
more powerful than
an idea whose time
has come.
— Honoré de Balzac
The invisible orange
“It is said in Broadway that as an scriptwriter
you can’t make a living,
but you can
make a killing."
— Anonymous
How could one not classify as “invisible” a sector that,
(according to John Howkins)1
was estimated to represent
6.1%
of the world
economy in 2005,2
and almost a decade later still does not
register on the radar of most economists
The creative economy, as defined
by Howkins, includes all the sectors whose goods and services are
based on intellectual property:
advertising, architecture, crafts,
design, fashion, film, games and
toys, music, publishing, research
and development, software, TV
and radio, and videogames, and
visual and performing arts.
15
The Orange Economy
Assuming this percentage remained the same,
by 2011 the Orange Economy’s value
would have reached
$ 4.3
trillion dollars
Economy will be presented in Chapter 1.
about 20% larger than
the German economy
All the figures in this manual are in current US
or two and a half
times the world
military expenditures.4
A complete definition of the Orange
dollars for 2011, unless otherwise specified.
But wait: while military expenditures are one
hundred percent dependant on the public purse,
the Orange Economy is a net tax payer.
Military expenditures
German economy
Orange Economy
16
Now, if the growth dynamics of the Orange Economy
mirror the behavior of its exports,
then it is likely that it is worth more today
than the 6.1% world output of eight years ago.
In fact, creative goods and services have
had a great decade in international trade:
According the United Nations Conference on Trade and Development (UNCTAD),
creative goods and services exports grew
%
between 2002 and 2011.
> Creative goods
-Audiovisuals
-Crafts
-Design
-New Media
-Visual and performing arts
> Creative services
-Advertising
Almost double the 71%
rate shown by all military transfers,6
-Architecture
-Culture and leisure
-Research and development
including donations, cooperation
and second hand weapons
(during a decade of wars in
Iraq and Afghanistan).
17
The Orange Economy
Creative goods and services exports reached
$646 billion dollars in 2011.7
If we were to include them within the classification system of the
International Trade Centre (ITC),8
they would be the fifth most
traded commodity on the planet,
while all military transfers combined
wouldn’t even make the top 10.9
Key exports in 2012
(billion dollars)
3,500
3,000
2,500
Creative
goods and
services
0
Vehicles other than
railway, tramway
500
Machinery, nuclear
reactors, boilers, etc.
1,000
Electrical, electronic
equipment
1,500
Mineral fuels, oils, distillation
products, etc.
2,000
(Source: own production with ITC data)
18
Creative trade is also less volatile:
Proven by the fact that it has weathered the
financial crisis better than sectors like oil.
While oil exports as reported by the Organization of the Petroleum
Exporting Countries (OPEC) contracted 40% in 2009,10
creative goods and services only
suffered a reduction of 12%11
(both quickly bounced, reaching
new records in the following two years).
The supply of creative goods and services—particularly the latter—
isn’t subject to the same natural scarcity restrictions of oil.
Price volatility is not a major concern for
Orange Economy growth!
Connectivity offers a
better explanation.
Creative trade in services grows 70% faster than trade in
creative goods,12 and these transactions are increasingly
happening through the Internet.
19
The Orange Economy
Price Waterhouse Coopers
(a well recognized firm
on BIG business matters)
forecasted that by 2012
the entertainment industries
(a group of activities at the
core of the Orange Economy)
would be contributing
$2.2
trillion dollars
per year to the world economy.13
This is the equivalent of
%
the actual value of the oil exports
of all the OPEC members for the same year.
20
Large film industries such as Hollywood in the US, Bollywood in India and Nollywood in
Nigeria jointly produce more than four thousand movies per year:
more than 80 per week!
Their box office sales reach
billions of dollars around the world.14
At the same time, videogames seem to be everywhere:
they already represent up to 70%
of tablet usage.15
Meanwhile, since its launch in 1998,
iTunes reports
more than 25.000.000.000
song downloaded
(at $.99 per song)
and
more than 50.000.000.000 apps
have been download from the AppStore.16
21
The Orange Economy
So let’s focus, for a moment,
on an activity that is traditionally regarded as marginal
and with low potential to generate wealth and employment.
Let’s look, for our example, to the performing arts
and benchmark them against the largest and most expensive electricity plant in the world:
The Three Gorges
Dam in China.
The damn has the capacity to generate 10% of China's electricity
(about 28 million households and
countless factories).
The idea came from 1919.
The late Sun Yat Sen proposed it in his work The International Development of China
Nonetheless, the planning of the actual damn
belongs to Deng Xiaoping’s economic
reforms of the early 1980s, in which the current development model of the
Asian giant was defined.
Construction was approved in 1992,
and was concluded in 2012.
was initiated in 1994,
About 30 years of hard work and
$25 billion
were required to complete the project.17
22
Meanwhile, over the same three decades,
the 10 most successful Broadway musicals
were…
C AT S
STARLIGHT EXPRESS
$2.8
$1.2
LES MISÉRABLES
THE PHANTOM OF THE OPERA
$2.6
$5.6
BEAUTY AND THE BEAST
WICKED
$1.6
$3.0
THE LION KING
MISS SAIGON
$5.0
$1.6
MAMMA MIA!
JERSEY BOYS
$2.0
$1.5
$26.9
(billions of dollars)
vs.
$25
Box office and merchandising
Total cost of construction of the
s a l e s i n N e w Y o r k a n d L o n d o n 18
Three Gorged Dam
Not so bad for theatre.
Are we now any better at identifying business opportunities
in the Orange Economy?
23
The Orange Economy
Let’s do a quiz.
Just for fun take out some
Find the answers to these
paper and a pencil,
questions on the following
page.
and write down the
first number that comes to mind.
1. How many employees does the acrobatic theatre Cirque du Soleil have?
What is its annual turnover?
2. What is the contribution of the Orange Economy to the employment and the income of
the city of Buenos Aires?
3. How many subscribers does the innovative postal and online video club Netflix have?
What is its annual turnover?
24
4. How many people attend the Ibero-American Theatre Festival of Bogotá?
5. How many high resolution images of art works are shared through the Google Art
Project?
6. How many visitors are hosted by the state of Rio de Janeiro during the city’s Carnival?
What is the economic contribution of the Carnival?
7. How many hours of video have been uploaded in YouTube?
25
The Orange Economy
Here are some answers that might
surprise you:
1. Cirque du Soleil employs more than 5,000 people, and reports a yearly turnover of over
$800 million dollars.19
2. Estimates suggest that one in ten jobs in Buenos Aires are in the Orange Economy
industries, and that these industries generate nine in every hundred pesos of the
city’s income.20
3. Netflix has more than 33 million subscribers and a turnover of well over $3.6 billion
a year.21
26
4. The 12
th
Ibero-American Theatre Festival of Bogotá in 2010 estimates an overall
attendance of 3.9 million people (500,000 in theatres; 420,000 in Theatre City (Ciudad
Teatro); and 3 million in street activities).22
5. The most important museums and collections in the world are sharing more than
43,000 of their artworks through the Google Art Project. The IDB Art Collection is part of
this effort to democratize access to culture.23
6. It is estimated that the Rio Carnival attracted over 850,000 visitors in 2012, and they
contributed $628 million dollars in consumption to the state’s economy.24
7. More than 100 hours of video are uploaded to YouTube every minute. By August 2013, 6
billion hours of video had been accumulated (nearly one for every person on Earth) for
the viewing pleasure of more than one billion unique visitors per month.25
27
The Orange Economy
How did it go?
If your answers were totally wrong,
fear not.
It’s pretty normal.
An economic approach to culture is a
fairly recent phenomenon.
So these figures are not only little
communicated,
but also generally unexplained and un-contextualized when they are.
This is why we present these figures in this book
in order to showcase the invisibility of the Orange Economy
and to explore its potential to generate wealth and employment opportunities
(in particular
for young people).
So, why does the Orange Economy
get so little attention from
people in general and
governments in particular
28
1st
There are many reasons.
Defining the Orange Economy is a complex matter
(culture, creativity and the economy
are broad concepts
that require delimitation).
2
nd
The relationship between the economy and culture is
not self-evident
(their combined
opportunities are widely
unknown).
3rd
The quantitative economic approach
to cultural and creative activities is a fairly recent exercise
(the tools to
do so are
still evolving).
29
The Orange Economy
4th
The systematic collection and dissemination of relevant
data and information
is inconsistent
(it is seldom communicated in an effective way).
5th
The creative process,
which results in goods and services, is a nebulous business
(it follows a complex
and volatile logic).
The design of policies to support
th
6
the creative economy lacks
practical frameworks
7th
(in particular to take advantage of its social and
economic development opportunities).
The people involved do not yet represent a critical mass
(We need You to join the debate
about the opportunities of the Orange Economy
to help us make it part of our future).
30
The purpose of this manual is to provide the necessary knowledge and tools
to address these seven challenges,
as well as to understand why the Orange Economy
is so important
for the social and economic development
of Latin America and the Caribbean,
(and the wider world).
seven,
a number
you’ll see
around this
book a bit.
31
Orange is the
happiest color.
— Frank Sinatra
Inter-American
Inter-American
Development
Development
Bank, IDB Bank, IDB
1. What is the Orange
Economy?
The definition
Some say that there are nine
different positions taken
in a discussion between
seven economists.
This common joke illustrates
how difficult it is
to reach agreement about
important issues
(especially where human egos
and emotions are concerned).
The world of
culture is little
different.
33
33
The Orange Economy
Therefore, anyone who dares to present a possible definition of the
relationship between the two:
x
(culture + economy)
the usual antagonism
Perfect recipe for disaster!
{
The discussions about how to define the relationship between
the economy and culture
are endless
and frequently emotional.
The result:
cultural industries
creative industries
leisure industries
entertainment industries
content industries
copyright protected industries
cultural economy
creative economy
34
}
Many
terms.
And each one of these
terms has numerous and
diverse definitions.
It is quite natural that this
diversity exists.
Everyone needs to adjust
concepts to their policy making
and business purposes.
As usual,
however,
the devil
is in the
details.
Regardless of the variety of positions, what
matters most is a
“
common
area
”
of agreement between these
competing definitions that shares
a few key elements.
35
The Orange Economy
ECLAC
Common area
WIPO
1.
2.
3.
Creativity, arts and culture as
Products strongly related to
Activities with a direct role in
productive endeavors.
intellectual property rights,
the value chain transforming
in particular copyright
ideas into products
(see Appendix 1).
(see Chapter 5).
36
United Nations Education Science and Culture Organization (UNESCO)26
The cultural and creative industries are those that combine the creation, production and commercialization of creative contents that are intangible and of a
cultural nature. These contents are usually protected by Copyright and can take
the form of a good or a service. Besides all artistic and cultural production, they
include architecture and advertising.
United Nations Conference on Trade and Development (UNCTAD)27
The creative industries are at the core of the creative economy, and are defined as cycles of production of goods and services that use creativity and
intellectual capital as their main input. They are classified by their role as heritage, art, media and functional creations.
World Intellectual Property Organization (WIPO)28
The Copyright-based industries are those that are dedicated, interdependent,
or that are directly or indirectly related with the creation, production, representation, exhibition, communication, distribution or retail of Copyright protected material.
Department of Culture, Media and Sports of the United Kingdom (DCMS)29
The creative industries are those activities based on creativity, individual
talent and skill, and that have the potential to create jobs and wealth
through the generation and exploitation of intellectual property.
Economic Commission for Latin America and the Caribbean (ECLAC)30
The content industries are: publishing, film, TV, radio, phonographic, mobile contents, independent audiovisual production, web contents, electronic games, and
content produced for digital convergence (cross-media).
37
The Orange Economy
That is why is so important to agree
to disagree
and let everyone create their
own different definitions
(within reason).
Creating a universal definition of the
Orange Economy is both
absurd and unnecessary.
The fast changing nature of the creative economy is what
generates opportunities and therefore makes this aspect
of the economy relevant. The fact that it is so prone to
change makes it difficult to define its boundaries.
But, the task of designing policies for social
and economic development does make it
important to have clear definitions for
those purposes.
That's why we propose a practical definition of the
Orange Economy, starting from
the common area
we’ve just discussed
and enriched by the approach presented by the Inter-American
Development Bank (IDB) in its September 2007 paper “Cultural
Industries in Latin America and the Caribbean:
Challenges and Opportunities.”
38
IDB 2007
31
Authors: Alessandra Quartesan, Monica Romis, Francesco Lanzafame
The cultural industries include the goods and services that are traditionally associated with public cultural policy, creative services and
sports. They are classified in three categories (by main association):
Conventional
Books
Publishing industry
Printing industry
Journals
Magazines
Newspapers
Literature
Libraries
Audiovisual
Film
Television
Photography
Home video
Phonography
Discography
Radio
Other
Visual and performing arts
Concerts and performances
Museums and galleries
Theatre
Orchestras
Dance
Opera
Crafts
Design
Fashion
Cultural tourism
Architecture
Gastronomy
Typical products
Eco-tourism
Sports
New
Multimedia
Advertising
Software
Videogames
Media support industry
39
The Orange Economy
Arts and Heritage
The Cultural Economy is composed of all
traditional artistic activities, all activities re-
Visual arts
Performing arts and public shows
Tourism and material and immaterial cultural heritage
lated to the preservation and transmission
-Painting
-Theatre, dance and puppets
-Crafts, antiques, lutherie and typical products
of cultural heritage, and the Conventional
-Sculpture
-Orchestras, opera and zarzuela
-Gastronomy
-Installations and video art
-Concerts
-Museums, galleries, archives and libraries
-Circuses
-Architecture and restoration
-Organized improvisations
-Natural parks and eco-tourism
Cultural Industries.
Cultural
Economy
(performance art)
-Photography
-Fashion - haute couture
(happenings)
•
The Orange
Economy
The Orange Economy is the group
•
•
•
-Monuments, archeological sites, historic quarters, etc.
-Fashion - catwalk
Creativity supporting activities
-Traditional knowledge, festivals, carnivals, etc.
Conventional Cultural Industries
Creative research, development
and innovation: Orange R+D+i
They are activities that provide goods and servi-
Publishing
Audiovisual
Technical skills development for
ces based on symbolic content of an artistic and
-Books, newspapers and
-Film
creative activities
creative nature. These goods and services can be
magazines
-TV
Governance and Intellectual
mass-reproduced and distributed, and are tradi-
-Graphic industry (printing)
-Video
Property Rights
tionally recognized as strongly related to culture.
-Edition
Professional creative education
of linked activities through which
-Literature
Phonographic
-Bookstores
-Radio
ideas are transformed into cultural goods and services whose value is determined by intellectual
property. The orange universe
includes: i) The Cultural Economy
Cultural and Artistic Education
-Recorded music
Creative
Industries
and the Creative industries which
Functional Creations, New Media and Software
They are activities not traditiona-
Design
Content software
News agencies and other
information agencies
share the Conventional Cultural
The Creative Industries combine the Con-
lly associated with culture, but they
-Interior
-Videogames
Industries; and ii) creativity
ventional Cultural Industries and Functio-
are defined by their symbolic va-
-Graphic art and illustration
-Other interactive audiovisual
supporting activities.
nal Creations, New Media and Software.
lue to consumers instead of their
-Jewelry
contents
use value.
-Toys
-Digital content media support
-Product
Advertising
Fashion – Prét-a-porter
This is
our definition:
“squeeze it.”
41
The Orange Economy
Why orange?
Because, the color
orange
culture,
creativity
and
identity
has often been associated with
In antiquity,
ancient Egyptian artists
used an orange pigment
(known as
realgar,a very toxic
arsenic sulfur)
for the hieroglyphic decoration of the
pharaohs’ tombs.
42
Western traditions
associate this color with
entertainment
and
frivolity
(often with extroversion and
the unconventional).
Bacchus
(Dionysus in Greek mythology), the
god of wine and patron of theatre, is
depicted wearing orange clothes.
Orange is also the color of
Halloween
(or All Hallows’ Eve).
Asian cultures use orange too:
In Confucianism, it is the
color of
transformation;
in Buddhism, it identifies
monks
(Buddha himself picked the color);
43
The Orange Economy
of the Sadhus
in Hinduism, it is the color
(holy men wandering around the world),
and the
orange chakra
located in the belly
represents the creative power center of the individual.
For Native Americans,
orange connotes
learning and leadership.
The test of time has turned the grana
cochinilla (deep red, carmine) color of Mesoamerican pottery
(Toltec, Mayan and Mixteca)
into orange.
For the Tupac Katari of Peru, orange is the color
of society and culture.
44
Orange is also the
color most often
associated with fire,
and
there are countless
metaphors about
the creative fire
and
the fires of passion.
Because
the cultural and creative
economy
lacks a brand identity,
we decided to label it the
Orange Economy.
45
The Orange Economy
A two-sided coin
The Argentinean writer Julio Cortazar describes
two kinds of people in his fictional work History of
Cronopios and Famas:
The Cronopios…
live every day as it
comes, adapting to
whatever comes,
and improvising,
without regard to the cost of things, and in
a loud and disorganized manner.
Their memories are left hanging all over the place,
and they play with them constantly.
Cronopios lack any
sense of time,
and they are as irreverent as they respect no
personal space.
46
On the other hand, The Famas…
are attentive to details, plan for the future,
and are quiet and organized.
They keep a careful registry of their
memories, which they store as treasure
in very safe places.
The Famas treat their
time as if its gold…
they follow the rules and
pay a great deal of attention to detail.
Clearly, the worldviews of the Cronopios
and of the Famas collide constantly:
Both fail
to recognize the complementarities of
their differences
and the importance of their respective
ways of being.
47
The Orange Economy
In the same way,
the relationship between the economy and culture is
often seen as diametrically oppositional.
In reality, the economy and culture are two sides of the same coin.
One concerns itself
with the abstract
representation of
The other focuses on
symbolic value.
precise
quantitative
validation.
Normally, we recognize only one of these sides at a time,
and this constrains our ability to understand the close
relationship between them.
The relationship
between the
economy and culture
is so close, in fact, that currency represents one of the
most amazing creations of both.
48
Currencies are the dominant intermediary of modern
economic transactions,
while at the same time being ubiquitous
carriers of cultural identity.
We define the value of currencies like the
dollar, the peso or the euro along a number
of lines:
On one hand, currencies relate to a series of technical conditions related to
the productive capacity of the economy, and the strength and
reputation of the institutions supporting it.
On the other hand, currencies relate to more ethereal, though equally important,
aspects of the economy and society, which include political
stability, entrepreneurialism, and social values.
It should then be no surprise that societies honor their key cultural symbols and their
most significant historical figures by using them to decorate and
enhance the value of their currencies.
Like the Cronopios and the Famas, culture and
the economy are complementary and meet at the
point of their differences, jointly creating value
and new opportunities.
49
It is not the strongest
who survive, nor
the most intelligent,
but the ones most
adaptable to change.
— Charles Darwin
2. The orange
opportunity
In explaining the difficulty of overcoming the threat of
global terrorism,
the former US Secretary of Defense
Donald Rumsfeld
declared in a press briefing32 that it is necessary to
understand that there are:
known knowns
(things we know that we know)
known unknowns
(things that we know we don't know)
and unknown
unknowns
(things we don't know
we don't know)
51
The Orange Economy
Every empire has confronted the difficult reality
of being taken by surprise by enemies seemingly appearing
out of nowhere:
not even
of their existence.
enemies they knew nothing of,
Enemies who take advantage of
the weaknesses hidden in the
asymmetries of
size,
resources,
and power.
These enemies usually become visible only when they cause
a humiliating defeat
to the incumbent empire.
For instance, Attila’s Huns sacking Roman cities
considered unassailable,
This manual
isn’t about wars,
though;
it is about
empires.
Genghis Khan’s Mongols “taking down” the Great
Wall of China,
the Comanche successfully keeping at bay Spaniard,
Mexican and American colonists for generations,
or Napster shaking up the music industry with just the
click of a mouse.
52
Winston Churchill had the foresight to declare
decades ago that the empires of
the future would be empires of the mind.
The
Orange
Economy
represents one such empire
an unknown unknown,
but rather than being a threat
it is an
opportunity.
The Orange Economy
In a very cynical way, it is often said
“it is better the devil
you know than the
devil you don’t.”
This saying is frequently used
to excuse poor results attained
by following proven models and
conventional wisdom:
Taking on risky, new ideas
demands courage.
Speaking of risks, the Orange Economy benefits from the development of information and
communications technology (ICT), but these
technologies do not ask for permission:33
Indeed, the challenges generated
by their implementation have a
significant downside in terms of
unemployment, outsourcing, and
in some cases, social unrest.
54
But, the opportunities
associated with technological
development are also
gianormous.
The challenge we face is to manage change to minimize
the former while making the most of the latter
(common sense, yes, but no less true because of it).
To understand current trends, we must acknowledge
that technological change is accelerating.
We live in
exponential
times.
55
The Orange Economy
It took 35 years from the telephone’s first
commercialization for one fourth of US households to
have one.
26 years for the TV;
22 for the radio;
16 for PCs;
7 for the Internet34
and just a few for Gmail, Facebook, Twitter,
Instagram, Linked In, and The Cloud.
And, it isn't even about hardware or
counting households anymore!
It took radio 38 years to reach an
audience of 50 million in the world;
13 for the TV;
4 for the Internet;
3 for the iPod;
2 for Facebook.
56
One more bit of trivia:
The Internet Protocol (IP)
was invented in
By 1984,
1974.
there were
one thousand
devices
connected to
the Internet.
One million
by 1992,
One billion
by 2008,
There will be
more than
20 billion35 by 2020
(more than two for every person on earth).
57
The Orange Economy
Now let’s turn to understand the five stages of
TALC
the technology adoption life cycle
NEW ADOPTERS
(TALC):
INNOVATION DIFUSSION
1
2
3
4
5
innovators
early adopters
early majority
late majority
laggards
The largest and most
transformative business
opportunities go to those
who dare to innovate and
adopt early.
Of course, that’s where the risks are as well.
After all, everybody wants
to go to heaven, but
nobody wants to die.
58
Bill Gates,
Steve Jobs,
Mark Zuckerberg
and Richard Branson,
made large fortunes from the risky business of innovation.
The same goes for the success of companies such as
Google, Amazon,
Paypal and Skype.
They all originated in
taking on the risk
of investing
long hours in
“crazy ideas”
(that others may have had earlier
without daring to put in the hard
work of bringing them to market).
59
The Orange Economy
The early majority
manages
to realize some benefits
from technological change,
but these are generally of a
limited nature.
For those that realize they stand to lose from
change, a fast reaction can mean recovery.
For example, companies like
Xerox,
IBM
and ITT
adapted their business models and culture and
recovered from disruptions to their business models
brought on by technological change.
But, they are no longer
the innovation beacons
they used to be.
60
The late majority usually faces moderate losses,
while remaining at risk in the long term.
Large and profitable companies like
or electronic giants such as
Barnes and Noble,
Sony,
were slow to adopt digital
business models.
Today, they survive with arguably dismal
balance sheets, a track record of mergers,
and a late adoption of digital strategies
based on the exploitation of their huge
reserves of intellectual property.
They rely on catalogues and patents
inherited from a time in which they were
leaders in the identification, development
and promotion of new talent… when they were leaders in innovation.
The true laggards
are just condemned to extinction.
According to the Sony Earnings Report 2013—published in the first
A few names illustrate this point well enough:
Kodak,
Tower Records,
Block Buster Video and
Borders.
year the company has not been in
the red since 2009—the main source of the company’s profits came
from their financial services division. This segment of the company
generates about one seventh of the
turnover, yet is probably the least
associated with its brand.36
61
Economía Naranja
Banco Interamericano de Desarrollo, BID
A common history
The evolution of technology, culture and
economics has occurred in a parallel
and interconnected way, as if they
represent part of society’s DNA. Let’s
have a quick look at this history37 (in a
super-summarized and simplified form).
B.C / A.D
62
63
The world
of ideas
The second great disruption period
The third great disruption period
Fourth great disruption period?
Lo
gis
.
lis
po
ato
kre
he
de
dt
me
nt
.
nte
rta
in
,
on
a ti
tiz
,d
ion
,
dia
me
ss
Ma
at
and
on
a ti
n iz
ba
Ur
an
.
us t
ria
liz
ati
on
in d
dw
riti
ng
.
an
er
t
s.
re
tu
ib
fac
dl
ie
nd
an
pper wires.
mi
ts
networks.
d“
gh
Connectivity 3.0: satellites, fiber optics, social
an
f ri
nalities and cultures.
n,
order, breaking down the boundaries of natio-
a ti o
new languages and symbols modify the social
no
s,
aliz
Celebrities become the new aristocracy, while
ti o
ar t
son
popular entertainment that redefines tastes.
ida
rs,
Arts and culture are overrun by a stampede of
sol
da
Ideas become the new currency.
co n
len
with white-collar workers.
per
nd
Connectivity 2.0: railroads, steamships, co-
“liberates” minds to fill the desks of skyscrapers
ass
,a
d.
Ca
on
th o
define the game’s rules.
The growing efficiency of industrial processes
t, m
ti
iza
me
and intellectual property rights come to re-
ten
on
ec
tiv
n
rga
the monopoly over ideas from the creators,
c
ra
lo
The mass reproduction of content removes
f ic
Connectivity 1.0: oars, sails and roads.
fortunes never before imagined.
n ti
circus).
engine, accelerating urbanization.
second to make films), books, etc., creates
sc i e
the Roman panem et circenses (bread and
tion is matched with the power of the steam
tiles, ammunition, photographs (sixteen per
nd
Popular culture emerges with the frivolity of
The labor freed by the Agricultural Revolu-
and through the massive production of tex-
na
first known design patterns.
ge .
ved on the walls of caves, early humans
lendar).
and war creates empires.
Capital imposes its cold logic of efficiency,
ctio
As their lives are recorded and preser-
ways related to the agricultural cycle (the ca-
a
tur
pas
minant social and political structure.
adorn their weapons and tools with the
palaces of ruling elites, who define time in
nd
Nomadic groups and tribes form the do-
their social and economic dynamics.
du
thering.
Stratified societies give birth to cities based on
Art adorns and differentiates the temples and
a
re
Subsistence necessitates hunting and ga-
source of wealth creation.
pro
ltu
red the origin of the economic cycle.
t re
ten
icu
Agr
Weather and geography could be conside-
Sweat, through controlled labor, becomes the
n
Co
ding some shelter from the elements.
Paraphrasing Charles Tilly, nations make war
a
tic
Domestication of plants and animals, provi-
Int
e
i gi
The first great disruption period
Show me
the money
an
Sweating
it up
s.”
l iz
Living from
the soil
b
Glo
a
*Moises Naim highlights in his book The End
Development of local consciousness
Development of national
Development of global consciousness
Proliferation of new identities and
of Power, the confluence of three revolutions
Consolidation of the first regional
consciousness
Consolidation of large organizations:
the development of supranational
that are diluting and transforming power,
empires: those defining the basic
Consolidation of the great global em-
from corporations commanding re-
loyalties?
as we know it. These three revolutions are:
character of the major civilizations
pires: those that have defined the
sources equivalent to those of small
Return to tribalism?
more, mobility and mentality.
until today.
common international institutional
states to NGOs able to mobilize mi-
The end of power* as we know it?
architecture that regulates interna-
llions from around the world to force
Who will the new winners be?
tional trade (and to a lesser extent,
even the most powerful government
intellectual property).
to relent to the pressures of international opinion.
The Orange Economy
The famous experiment
of the key tied to a kite.
then the experiments of Michael Faraday led
to the development of the first electric engine;
64
and finally,
the work of James Maxwell, Nicola Tesla and Thomas
Edison led to the introduction of the first public
electric lights in Paris at the end of the 1870s (giving it
the name “City of light”).
With this, nightlife became part of daily life!
(and this was only the beginning)
With a public lighting system and electricity
consumption by industry, it became viable to
bring electricity to households.
First used for heating and refrigeration, it
came to power all kinds of appliances.
The big ones—such as fridges,
washing machines and heaters—
are known as white goods.
The small ones—such as toasters,
blenders, and microwave ovens—
are known as brown goods.
And electronics—such as flat
screens, smartphones and tablets—are known as shining goods.
65
The Orange Economy
Likewise, digital technologies had their genesis with the invention
of the transistor in
1947
1948.
and a treatise about the mathematics of communications by
Claude Shannon in
Thomas J. Watson is attributed with the
following quote in 1943:
“I believe there’s a global market of
about five personal computers.”
PCs weren’t to appear until the
mid-
contributing to the creation of a
World Wide Web for scientific
collaboration between March
and December
1970s,
1989
1990.
This made it possible to bring
the Internet to households.
66
And so we have today a
Third
Industrial
Revolution:
Its “appliances”:
The Digital Revolution.
Digital content.
Content such as music, films, videogames, etc.,
which come in many formats and sizes
(no longer white,
brown or shinning,
but mobile,
console,
PC,
DVD,
Blu-ray,
apps,
etc.).
The ease with which new players can bring their own products to
the market with increasing diversity and adaptability,
creates a virtuous circle of social and economic change
(in which the wide availability of options
stimulates more innovation and efficiency,
generating greater general welfare).
67
The Orange Economy
> Disruptive technologies
According to the
McKinsey Global Institute (MGI),38
twelve disruptive technologies will
change the way we live, the way
we do business, and the global
economy by the year 2025.
These technologies are presented below, ranked by their potential to create new wealth:
Mobile Internet
Knowledge work automation
Internet of things
Cloud technologies
Advanced robotics
Autonomous and semi-autonomous vehicles
Next generation genomics
Energy storage
3D printing
Advanced materials
Advanced exploitation and recovery of oil and gas
Renewable energies
The six disruptive technologies with the closest
and most symbiotic relationship to the Orange
Economy are noted in bold.
Yes, these technologies
were developed outside
of the cultural field.
68
History, however,
has demonstrated
that humans have
an intrinsic need
to appropriate,
differentiate and
personalize
that engages the most inquisitive and cunning artists and creatives to experiment and
innovate with:
new ways to communicate (mobile Internet),
new ways to differentiate (Internet of things),
new ways to exchange and accumulate (cloud technologies),
new ways to transport things (energy storage),
new ways to do things (3D printing),
new materials (advanced materials),
in ways that create new business models,
seeking to enrich our lives in multiple
dimensions at the same time.
69
The Orange Economy
The MGI estimates that in the next twelve years,
the economic impact of these six technologies
will be between:
$8.8
$24.9
$16.1
trillion dollars
(about the size of the
Chinese economy in 2012)
and
trillion dollars (about the size of
the economies of the US, Japan
and Germany combined in 2012).
No doubt, one of the great enablers of the wealth creation represented in this
is the ability of these technologies
A middle-class starving for local con-
trillion dollar gap (about the size
of the European Union economy
in 2012)
to be integrated into
the daily lives
tent, in high-quality formats and in
real time.
70
of people joining the global
middle-class for the first time.
If we examine the evolution of
the digital economy,
it indicates that
content will be called upon to play a key
role in the integration
of these disruptive technologies into the daily lives of
the newly empowered global middle-class.
Latin America and the Caribbean are well placed to
use their immense reservoir of creative talent and
cultural heritage to generate a distinctive comparative
advantage.
This could lead to a transformation that,
for starters, will have almost 600 million
people enjoy the most dramatic increase of
wealth in their history
Or pursue a growth path dangerously dependent on non-renewable commodities, thus exposing our
(millions of them having the opportunity
of a disposable income to personalize their
consumption for the time.)39
economies to the risks of “Dutch
Disease,” in which the economy
is harmed by an overreliance on
natural resources. By comparison,
We can wait for others with more
cunning to develop business models
integrating these technologies to
content consumption,
and try to duplicate those models to avoid
cultural goods and services are highly tradable and renewable.
lagging too much.
71
The Orange Economy
Mindfactures are goods and services
like art, design, videogames, films,
An alternative option involves empowering the talent
of the 107 million youth (between 14 and 24 years) living in Latin America and the Caribbean
and crafts, which carry with them an
intangible symbolic value that exceeds
their use value.
to take the risk of early adoption of business models
based on “mindfactures”
(the core of an Orange Revolution)
and build an empire of the mind
The Kreatopolis is the type of city
that we dream about as a key axis
(or “kreatopolis”).
for development of the Orange Economy: places where mindfactures
are more important than manufactures for wealth and job creation.
consider that in
1896 New York
If such a sudden change
seems unrealistic,
political leaders and industry champions were having
discussions about what to do with the between one
hundred and two hundred thousand horses in the city.
The logistics of feeding them, dealing with their feces, and providing them with carriages and
all kinds of gadgets and garments was in the hands of about 13,000 companies,
perhaps the main source of
employment at the time.
On 1 October
1908,
Henry Ford introduced the Model T (the first automobile in
serial production) and less than twenty years later more than
fifteen million had been produced,39 displacing the horse and
carriage as the main mode of transportation.
72
> Our decade
Latin America and the Caribbean
After all
possess a real opportunity
for development.
"this is its decade”
is a frequently repeated phrase in a number of
economic circles to acknowledge the strong period
of growth the region is currently experiencing.
The so-called
demographic bonus,
according to many economists,
explains great leaps forward in
economic development such as
those experimented by the
Asian Tigers
Demographic bonus. Happens
when population growth adds
people to the labor market faster
than to social service rolls for the
young and elderly (for example,
basic education, pensions, elderly
care). This allows more resources to
be focused on increasing long term
productivity, thus expanding the
middle class and lifting people out
(beginning in the 1970s)
poverty in a sustainable way.
or China (starting a decade after).
The demographic bonus enjoyed by these Asian countries was mostly invested in the creation and expansion of their manufacturing sector.
73
The Orange Economy
Latin America and the Caribbean will
need to get creative:
not only is competing with Asia on cheap
labor not feasible,
but also that the Latin
America and Caribbean region
is already enjoying relatively
high levels of urbanization and
industrialization, leaving little
room for growth there.
Cashing in on this demographic bonus will
require a knowledge-based approach
and active participation in the
in which
Digital Revolution
science, technology and
culture
are taken very seriously.
74
The Orange Economy
represents one of the opportunities
through which to take advantage
of the Digital Revolution.
The talents held within our
demographic
bonus
gives us the chance to transform the best
of the creative and cultural assets of Latin
America and the Caribbean
into forms of intangible capital that (according to the World Bank) represent
of the world’s wealth.40
75
The Orange Economy
$ 79.194
$ 673.593
$ 551.964
$ 47.183
$ 58.023
$ 3.597
Here’s the distribution of the
world’s accumulated wealth,
according to the level of income
of the countries: (trillion dollars
in 2005)
Level of income
69.3
15.5
77
18
81
17
69
5
Mid-high
2
Natural
capital
76
15.2
Mid-low
15
Low
16
51
24
25
13
Produced
capital
30
Kind of wealth
Intangible
capital
57
And these are the
proportions according to the
kind of wealth: (%)
High-OECD
World
Latin America
and the
Caribbean
Source: Own production
with World Bank data.
It is clear that the big differentiating factor for
wealth creation is the relationship between
intangible and
natural capital.
The more we depend on
knowledge,
the wealthier
we are.
holding about
Latin America and the Caribbean as a whole,
however, shows a distribution structure in
line with that observed for the mid-high
income group,
35%
of the natural capital of the world.
77
The Orange Economy
Our natural capital is worth more than
$12
trillion
dollars.
The Organization for Economic Co-operation and
Development (OECD) possesses a similar amount of
natural capital:
more than
$11
trillion
dollars.
(Mexico and Chile belong to both Latin America and the Caribbean and the OECD, so their
natural capitals are being counted in both).
Both in relative and absolute terms, the
prevalence of higher intangible capital in the OECD
countries over those of Latin America and the
Caribbean explains the difference.
78
We face the challenge of
creating a conducive
environment for
the production of
intellectual capital.
We need to retain, attract, capture and
reproduce the talent of highly mobile
youth, a group often undervalued socially
and poorly rewarded economically in our
societies.
(Talent is mobile).41
Countries around the world are
developing policies to attract
people with talent
(demand is
on the rise).
It will therefore take a serious commitment of effort to convince talent to stay in Latin
America and the Caribbean and play a key role in our development agendas.
79
The Orange Economy
Latin America and the
Caribbean
need to take the risk of innovation
and early adoption.
We need to jump into the adventure
of creating our future success
on the basis of a now known
unknown—the Orange Economy.
80
Mistakes can,
of course, be
corrected,
but missed
opportunities
cannot be
recovered.
81
99% of all
statistics only
tell 49%
of the story.
— Ron DeLegge II
3. The size of the
orange
There’s a lot to be said
about statistics,
though perhaps never as eloquently as Benjamin Disraeli’s
remark that, “There are three kinds of lies:
lies, damned lies,
and statistics.
"
Those who regularly work
with statistics know that
indicators and estimates
are always
proxies to reality,
not absolute
truths.
They recognize that statistics simplify and summarize complex realities, but do
not substitute for critical analysis.
83
The Orange Economy
Statistics act like a map, highlighting the most salient
characteristics of an area of interest.
They shed light on the
decisions we need to
make, thus keeping
us on course as we
strive to reach our
destination.
They facilitate
navigation, helping
us clear away the
messiness of detailed
information,
and provide a panoramic view
of the obstacles we should
anticipate and avoid and the
opportunities we could exploit.
84
Creating a map in
1:1 scale serves no
practical use.
It requires too many resources
(time, money, space…).
It does not facilitate.
It does not simplify.
It cannot be
generated in real
time to make
decisions using
current information.
85
The Orange Economy
But, in the field of cultural statistics, researchers frequently
attempt to create 1:1 scale maps.
Either because the creative mind is allergic to
quantitative simplification (particularly
related to finances)
or out of a determination to
overcompensate for the historical
absence of statistics about culture,
the field assumes higher standards
than necessary, sensible or possible.
The upside of these extreme
tendencies is that they have
accelerated the development
of the quantitative analysis of
culture over the last couple of
decades
(though significant difficulties remain
in producing a continuous, reliable and
comparable flow of information).
86
Some of these
difficulties are
technical, such as:
- high levels of informality
(creative activities are underrepresented in
the official data collected by national statistical
agencies and other entities specialized
in data collection)
- inadequate classification systems
(originally designed to account for economic
activities such as manufacture, mining and
agriculture, economic data frameworks overlook
services by grouping them into broad categories,
making it difficult to examine more contemporary
sectors such as health, tourism and the Orange
Economy).
- new technologies
(new technologies affect the value chains of creative
products and their consumption dynamics, but these
effects follow no discernible patterns; in fact, it is
impossible to know if there will ever be a definitive
model to describe the relationship between technology
and creative activities, as such).
87
The Orange Economy
Other difficulties
are less technical in
nature, such as:
- absence of a consensus on the
definition of the creative economy
(an issue exposed in Chapter 1)
- irregular political commitment
(statistical collection processes, studies and projects
often lose appeal over time and many reports are left
accumulating dust in cupboards across the region)
- internal and external opposition
(many artists, creatives, economists, and politicians
dislike the idea of economic analysis of culture, making
it very difficult to validate the results of quantitative
analysis of cultural activities).
These problems are not exclusive
to the Orange Economy.
The measurement of tourism and environment (including green industries) has been accumulating valuable knowledge for the last few decades, but still faces considerable obstacles, as well.
88
Today, we have the following analytical models for understanding the cultural and
creative economy42
SUBJECT
ANALYTICAL MODEL
There are a range of approaches available to
the research team. Thought needs to be given
to which would be most appropriate in the
circumstances.
How can the research team increase the likelihood of the mapping findings being noticed and
acted upon? How do they connect with key audiences and affect policy agendas?
On its own, the project is unlikely to achieve
all its goals – it needs to be part of an ongoing effort to raise the profile of the creative industries.
D. Books and press
E. Audio-visual and interactive
media
Equipment and supporting materials
How can momentum be
maintained?
Who will manage the mapping project and
ensure the work is of high quality? There are a
number of distinct roles that have to be filled.
C. Visual arts and crafts
Equipment and supporting
materials
How can the project’s
findings connect with
key audiences and policy
agendas?
Deciding what is included in the study and
what is not is central to a successful mapping. A project may choose to assess all the
creative industries or concentrate on just a
few sub-sectors.
Education and training
Which research approach
should be adopted?
B. Performance and celebration
Archiving and preserving
Who is in charge?
Who does the work?
Creative industries mapping is rarely undertaken simply out of intellectual curiosity: it
is intended to have an impact on the policy.
Which areas is it likely to have most affect on?
CULTURAL DOMAINS
How are the creative
industries defined?
A. Cultural and natural heritage
F. Design and creative services
RELATED DOMAINS
Which policy questions
can mapping be used to
address?
Those who will be organising the mapping
need to start by clearly thinking through
why they want to do it and who they want
to persuade.
UNESCO 2009 framework for Cultural Statistics Domains
Why do mapping?
Who is it for?
and even an international agreement for a
Framework on Cultural Statistics.44
Education and training
and guidelines for the mapping of cultural
and creative industries,43
1. Impact evaluation
2. Qualitative analysis
Archiving and preserving
Cultural events
2. Structural and compositional analysis
3. Value chain analysis
4. Cluster analysis
INTANGIBLE CULTURAL HERITAGE
(oral traditions and expressions, rituals, languages, social practices)
Cultural or creative activities
and industries
2. Structural analysis
3. Value chain analysis
G. Tourism
H. Sports and recreation
INTANGIBLE CULTURAL
HERITAGE
Creative and/or cultural
sector in general
89
The Orange Economy
If Sir Isaac Newton were to
approach the measurement
of the Orange Economy
today, he would say that
we can see further, because
we are standing on the
shoulders of giants.
We proposed definitions related to the Orange
Economy in Chapter 1, based on the accumulated
work of many others. Now, we will identify an
“information pyramid” for the Orange Economy
that describes how different approaches to data
analysis and dissemination fit together:
90
A. Mapping: is the mandatory first step in
any serious effort to understand the economic contribution of a sector with substantial
information gaps. Mappings are conducted using a variety of methodologies and are
designed for specific purposes. Essentially,
mappings take a snapshot that captures the
conditions of an economic sector at a point
in time and identifies information gaps.
B. Basic statistics: in order to address information gaps, appropriate surveys of economic activity must be created and conducted.
These surveys capture better economic data
on formal and informal activities within a
sector, allowing for the reclassification of
some activities and more detailed analysis.
C. Satellite Accounts: allow for continuous,
reliable and comparable measurement of
industries that are derived from a national statistics system. While mappings take
snapshots, satellite accounts capture the
“moving image” of an economic activity.
D. Indicators: once data becomes consistent, the variables and parameters that
allow for continuous analysis and benchmarking of the global performance of cultural and creative activities are defined.
E. Information systems: once there’s an
established structure for continuous analysis of the economic performance of the industry and a consolidated client base for
the data emerges, it is important to generate the structures for the production of the
intelligence required by policy makers and
business managers to enhance their decision-making.
91
Mathematics, rightly
viewed, possesses not
only truth, but supreme
beauty — a beauty cold
and austere, like that of
sculpture.
— Bertrand Russell
4. How much for an
orange?
Massive concerts
like Rock al Parque (Rock
the Park) in Bogotá,
spontaneous
capoeira
performances in
Rio’s favelas,
mariachi in the background of
Oaxaca’s colonial square,
traditional
celebrations in
Cuzco:
everywhere, public access to cultural
activities is often associated with the idea
of culture as being free.
93
The Orange Economy
The Commons tragedy is a
phenomenon that explains
Society generally treats culture
as a public good.
how rational independent
individuals pursuing their
And, public goods are usually victims of the
self-interest can actually
erode a common resource
without intending
“Commons tragedy.”
to do so.
This state of affairs damages artists and creatives, by
denying them fundamental rights to:
(1) recognition of their
activity as a legitimate
career, and
(2) rightful compensation
for the work they do.
At the same time, it denies
society the kind of social and
economic progress that artists
and creatives, and the industries
they engage in, could deliver.
In order to change this situation, it is
necessary to understand the Orange
Economy in figures.
94
That’s why in this manual,
we have taken the results of
the study
“The Economic Impact of the
Creative Industries in the
Americas”
The full data base produced
by Oxford Economics can be
downloaded from: bit.ly/
Americas2013CIDatabase
(a joint effort of the Organization of American States,
the Inter-American Development Bank and the British
Council, which commissioned to the consultancy firm
Oxford Economics),
Analyzed them. Contextualized them.
And, now we present them,
so it’s very clear that:
This is not to say that there
should not be free access to
certain events and activities,
Culture
IS NOT
but that it is only fair for
those who benefit from such
access to understand and
appropriately acknowledge those who pay for them
–because there’s no such
thing as a free lunch.
free!
(see Appendix 2 for methodology
and detailed sources)
95
the fourth largest labor force
(million workers)
96
China 816
India 477
United States 159
(billion dollars)
Orange Economy 144
the ninth largest exporter of
goods and services
China $2,563
United States $2,105
Germany $1,790
Japan $927
France $804
United Kingdom $773
Netherlands $652
South Korea $647
United States $14.99
China $7.32
Japan $5.90
Orange Economy $4.29
Germany $3.60
(trillion dollars)
Orange Economy $646
The fourth largest economy
Indonesia 116
The Orange Economy
If the Orange Economy were a country in the world, it would be:
World economy
$70.4
Source: own elaboration
with data from
Howkins 2007, Oxford
Economics (various)
and World Bank.
(trillion dollars)
World exports
$22.2
(trillion dollars)
3.266
World’s labor force
(billion workers, 2011)
97
The Orange Economy
The contribution of the
Orange Economy to the
world economy
in comparison to other
productive sectors would be
(according to the way goods and services are created)
Orange Economy
(services and manufactures)
6.1%
Agriculture
3.1%
Industry
(manufactures
and mining)
25.4%
Services
65.4%
98
with data from Howkins
2007 and World Bank.
by type of use
(according to the way goods and services are consumed)
Orange Economy
(household consumption,
Other household
consumption
57.2%
investment, public expenditures)
6.1%
Other investment
7.8%
Other public expenditure
28.9%
99
The Orange Economy
And, the Orange Economy
compares
with other valuable sectors in
the following ways:
(as a percentage of the world economy)
Source: own elaboration with data from
Howkins 2007 and World Bank.
100
2.5%
4.7%
Military (public expenditure)
Education (public expenditure)
6.1%
10.1%
Orange Economy
Health (public and private
expenditures)
101
The Orange Economy
Americas
$1,932
United States
$1,664
Canada
The impressive performance of the United States makes
the Orange Economy of the Americas a clear global leader.
(billion dollars)
102
World
$4,293
China
United Kingdom
South Korea
Howkins 2007, Oxford
Economics (various)
and World Bank.
Spain
Rest of the world
$1,579
103
The Orange Economy
Some interesting comparisons to illustrate
the magnitude of the Orange Economy:
The Orange Economy of the United
States generates resources equivalent
to those required to build the
75 thousand kilometers
of the US interstate highway system
(the most expensive infrastructure
project in history)
425 billion
(current dollars in 2006)
with data from
Oxford Economics
(WIPO) and other.
104
4x
The Orange Economy of the United Kingdom generates
resources equivalent to those required to build
the Eurostar
ten times
(the 50 kilometers tunnel below the Channel
connecting France and the UK)
with data from
Oxford Economics
(DCMS) and other.
$15.4 billion
(current dollars in 1992)
10x
105
The Orange Economy
Contribution of the Orange Economy
to world exports
(billion dollars)
Americas
(13.5%)
$87.6
Rest of the world
(86,5%)
$558.5
106
with data from Oxford
Economics (UNCTAD) and
US Energy Information
Administration.
2x
Saudi Arabia’s oil exports
$311
107
The Orange Economy
Americas
United States
$49.0
Canada
$19.8
with data from Oxford
Economics (UNCTAD).
$18.8
China’s leadership of Orange Economy trade has increased in
parallel with the expansion of its manufacturing sector. Now that
patterns of trade lean in favor of trade in services, we can expect
that those nations with a “mindfactures” intensive strategy will
come to take the lead.
(billion dollars)
108
World
China
$129.8
United Kingdom
$24.3
Spain
$16.4
South Korea
$6.4
Rest of the world
$381.6
109
The Orange Economy
Some interesting
comparisons
to illustrate the magnitude of Orange
Economy trade in goods and services:
(billion dollars)
Oxford Economics (UNCTAD).
United States’ Orange Economy
trade is equivalent to
110
Chilean copper exports
China’s Orange Economy
trade surplus explains
(the difference between exports and
imports of creative goods and services)
two thirds of its total
trade surplus
(the difference between exports and
imports of all goods and services)
111
The Orange Economy
Orange Economy’s contribution
to employment worldwide
(million workers)
Americas
(16%)
$23.3
Rest of the world
(84%)
Source: own elaboration with
data from Oxford Economics
(various) and World Bank.
112
$121.1
US, labor force
159.1
World’s Orange Economy labor force
144.4
Germany’s labor force
42.8
China’s Orange Economy labor force
49.7
Colombia’s labor force
22.7
Americas’ Orange Economy labor force
23.3
113
The Orange Economy
Americas
22.1
United States
11.8
10.3
1.2
Canada
Creative workers in the US are 14 times more productive than
their equals in China. Greater intellectual property protection
and enforcement in the Orange Economy explains most of this
productivity gap.
(million workers)
114
World
144.4
China
49.7
1.5
1.5
United Kingdom
South Korea
Rest of the world
68.3
115
the fourth largest labor force
(million workers)
116
United States 159.1
Brazil 103.2
Mexico 52.1
(billion dollars)
Orange Economy 23.3
the seventh largest
exporter of goods
and services
United States $2,105
Canada $545
Mexico $365
Brazil $294
Argentina $99
Venezuela $95
Orange Economy $87
United States $14.99
Brazil $2.48
Orange Economy $1.93
Canada $1.78
Mexico $1.16
(trillion dollars)
Chile $82
The third largest economy
Colombia 22.7
The Orange Economy
If the Orange Economy were a country
in the Americas, it would be:
Americas’ economy
$22.2
(trillion dollars)
Americas’ exports
$3.8
(trillion dollars)
416
Americas’ labor force
(million workers, 2011)
117
The Orange Economy
Some interesting comparisons to illustrate the
magnitude of the Americas’ Orange Economy:
(billion dollars)
data from Oxford Economics (various) and World Bank.
$0.52
$1.87
Oil rents of the Americas
Indian Economy
(Oil production value at market prices
net of its production costs)
118
$1.93
$2.18
Orange Economy
Oil rents of the world
119
The Orange Economy
If the Orange Economy of Latin America and the Caribbean were a country, it would have
output, exports, and a labor force equivalent to:
The Peruvian
economy
(billion dollars)
Panamanian
exports
$21.6
(billion dollars)
and the labor force of El Salvador, Guatemala
and Honduras combined
11.5
(million workers)
120
Source: own elaboration of Oxford Economics (various) and World Bank data
Caribbean’s Orange
Economy
Chinese exports
of textiles
$175
$154 $150
Japanese exports
of vehicles
(billion dollars)
Economy exports
Honduran
economy
Foreign Direct Investment
in the Netherlands
$18.8 $17.4 $17.5
(billion dollars)
Economy labor force
Ghanaian
labor force
Belgian urban
population
10.3 10.5 10.8
(million people)
121
The Orange Economy
Some interesting
comparisons
of the magnitude
of the Latin America
and the Caribbean’s
Orange Economy:
(billion dollars)
Source: own elaboration with data from Oxford
Economics (various) and World Bank.
The Mexican Orange Economy more than doubles
122
the remittances
it receives
The Brazilian Orange
Economy can be compared to
Venezuelan oil exports
123
The Orange Economy
The Orange Economy’s
contribution to
Latin America and
the Caribbean
to the economy (million dollars)
$174,757
to employment
(thousands of jobs)
Oxford Economics (various) and World Bank.
value added
per worker
(thousand dollars a year)
10,262
17.03
Exports
(million dollars)
Trade balance
(exports minus imports)
$18,761
-$9,933
Imports
(million dollars)
Balance of payments
(balance after including net payments/
receipts by: informatics and information services, royalties and licenses for
intellectual property) (million dollars)
$28,694
-$16,547
124
The Orange Economy trade deficit of Latin America and the
Caribbean is considerable. Of greater concern, is that once net
payments for intellectual property royalties and licenses are factored
in, the deficit nearly doubles.
125
The Orange Economy
The seven biggest markets in the Orange
Economy of Latin America and the Caribbean
Argentina
Mexico
$17.08
$55.01
(billion dollars)
(billion dollars)
550
5,280
(thousands of jobs)
(thousands of jobs)
Chile
Brazil
$3.98
$66.87
(billion dollars)
(billion dollars)
170
1,730
(thousands of jobs)
(thousands of jobs)
126
Colombia
Venezuela, BR
$11.00
$5.06
(billion dollars)
(billion dollars)
1,160
(thousands of jobs)
Peru
Rest of LAC
$4.72
$11.02
(billion dollars)
(billion dollars)
660
1,450
(thousands of jobs)
(thousands of jobs)
(various) and World Bank
127
The Orange Economy
Exports
Imports
Trade balance
-$6,124
-$1,613
-$1,613
-$431
-$937
Payments balance
-$1,572
-$2,088
(million dollars)
-$1,097
-$1,495
-$553
-$933
-$1,566
-$1,566
-$3,486
-$1,790
-$9,933
-$16,547
128
Brazil
Mexico
Argentina
Colombia
Chile
Peru
Venezuela, BR
Rest of Latin America and the Caribbean
All Latin America and the Caribbean
$9,414
$9,029
$385
$4,268
$5,881
$1,519
$1,949
$815
$2,387
$526
$1,623
$239
$792
$85
$1,651
$1,896
$5,382
$18,761
$28,694
129
The Orange Economy
Orange Economy
exports of goods and services
vs.
traditional exports
(million dollars)
Chile
130
Orange Economy
Sugar and its derivate
Copper wire
Orange Economy
Source: own elaboration with data from Oxford
Economics (UNCTAD) and International Trade Centre (ITC)
Colombia
Orange Economy
Coffee
Orange Economy
Iron and steel
Orange Economy
All beef
$1,154 $1,519 $4,267 $4,268 $8,026 $9,414
Argentina
Mexico
Brazil
131
The Orange Economy
The Orange Economy’s contribution to
economies in Latin America and the Caribbean
(countries with available data)
Argentina
Dominica
3.8%
3.4%
Barbados
Ecuador
1.2%
1.8%
Brazil
Grenada
2.7%
4.6%
Chile
Guatemala
1.6%
7.6%
Colombia
Jamaica
3.3%
132
4.8%
Source: own elaboration with data
from Oxford Economics (various).
Mexico
Saint Lucia
4.8%
8.0%
Panama
Saint Vincent and the
Grenadines
6.4%
5.6%
Paraguay
Trinidad and Tobago
3.9%
4.8%
Peru
Uruguay
2.7%
3.4%
Saint Kitts and Nevis
Venezuela, BR
6.6%
1.6%
133
The Orange Economy
The Orange Economy’s contribution to employment
in Latin America and the Caribbean
(countries with available data)
Argentina
Dominica
3.2%
4.8%
Barbados
Grenada
1.9%
3.6%
Brazil
Guatemala
1.8%
7.1%
Chile
Jamaica
2.3%
3.0%
Colombia
Mexico
5.8%
134
11.0%
Source: own elaboration with data
from Oxford Economics (various).
Panama
Saint Vincent
and the Grenadines
3.2%
4.9%
Paraguay
Trinidad and Tobago
3.3%
5.0%
Peru
Uruguay
4.5%
4.9%
Saint Kitts and Nevis
3.1%
Saint Lucia
4.4%
135
Without culture, and
the relative freedom it
implies, society, even
when perfect, is but a
jungle. This is why any
authentic creation is
a gift to the future
— Albert Camus
5. The orange
ecosystem
“Make it, launch it, fix it”
(
is the battle cry of innovators of new technology
businesses
the digital
expression of the
common phrase
“trial and error"
).
This model is very efficient in placing the collaboration
between the idea
developer and end user
front and center within the innovation process.
This approach does not represent just a new
age of experimentation, but also a radical
change in the relationships between:
partners,
competitors,
clients,
and context.
137
The Orange Economy
The cultural and economic
processes that turn “symbolic
content” into goods and
services for society
are evolving
constantly.
Digital technology has accelerated the rate
of this evolution,
making it difficult
to understand
these dynamics
at a time when when
we need to do so most.
138
This reflects, in part,
the contradictory
nature of the arts:
On one hand,
they resist change
—trying to keep traditional values and identity relevant—
while
enthusiastically embracing
experimentation with new
ideas and technologies
—pushing the limits of their use.
(As the Romanian dramatist Eugene
Ionesco would put it, the arts teach
us that there are things whose
existence is indispensable, even
though they are useless.)
139
The Orange Economy
As with other industries, a number of diverse
agents make up the Orange Economy:
conceptual artists,
musicians, writers,
actors, etc.;
Prosumer.
A term coined by Alvin Toffler in The Third Wave
(1980) with the purpose
of describing the fusion of
production and consump-
consumers,
prosumers, fans, etc.;
tion. The concept has become particularly valuable
in explaining the role of
those users who move beyond the consumption of
content to actively partici-
entrepreneurs,
investors, galleryowners, etc.;
pate in their transformation
and adaptation to new
media. A good example
from the Orange Economy
is the videos that some
fans produce by mixing
cultural managers,
critics, curators,
etc.;
the music of their favorite
artists with scenes generated through videogames
or through interaction in
virtual worlds such as Second Life.
140
companies,
ministries, agencies,
foundations, etc.
Each and every one of these groups
perform several functions in a very
dynamic system,
And, even more so since digital
technologies made the scale
of their disruptive "intentions"
clear in the second half of the
1990s.
Public policy can play a role by
“playing” with the relations
and incentives between
these different agents;
distributing and
redistributing
benefits,
and trying to improve the efficiency of the
overall system in order
to achieve sustainability.
141
The Orange Economy
Therefore, it is important to try to
understand how the relationships
in this ecosystem work.
This manual presents three analytical
perspectives for better understanding
the Orange Economy ecosystem before
getting into the messy business of
describing how to design public policy
to support this economic sector:
Ecology
(the relationship between supply and
demand and the state);
Value
chain
(a conceptual model of the cyclical process that goes from
the creation of content to its consumption, and vice versa);
Kreatopolis.
(the central role of cities in the development of the
Orange Economy).
142
> Orange Ecology46
The Orange Ecosystem is made up of three
delicately balanced dimensions:
*Creation
*Engagement
And at the intersection of these three
dimensions,
Su
pl y
Pro
p
ti
Ar
M
s ts
rs
ajo
a
C re
u
Tro
*environment
lies intellectual
property rights.
pe
tiv
es
s
Fa
s um
e rs
De
m
an
Nic
he
d
s
ns
IPR
Cr
iti
cs
Associations
Ministries
Arts Councils
Departments
Institutions
143
The Orange Economy
*Creation (supply)
“One always has to spoil a picture a little bit in order to finish it.”
Eugene Delacroix
In this dimension, the following agents drive
interaction between ideas and appropriate
business models:
artists and creative individuals,
entrepreneurs,
artistic troupes,
small and medium enterprises (indies),
big corporations (majors), etc.
This is also the dimension in which ideas are generated
and transformed into goods and services (see value
chain on page 151).
144
Diversity is a key component of the “creative
destruction” process of the Orange Economy:
Creative Destruction.
Concept created by the sociologist Werner Sombart,
content is made
and transformed
by the interaction
between concepts,
disciplines and
identities
and made popular in economics by Joseph Schumpeter. It describes the process
through which innovative
products and business models add more value than
the products and business
that are mediated
by small, medium
and large scale
agents.
models that are displaced
and destroyed by their introduction.
Barrier to entry.
Those difficulties faced by
every new player (a person
or a firm) when attempting
Digital technologies have
lowered barriers to entry.
to get into a new market.
These can range from the
minimal investment requirements needed to start a
business (space and equipment) to the most stringent
regulatory requirements
(permits and licenses), to
This has altered the ecological balance with a sudden
influx of many new competitors of
cultural obstacles (local preferences), lack of scale (coverage), and access to scarce
all types,
shapes and
resources (wavelengths),
sizes.
amongst others.
145
The Orange Economy
These trends have
redefined the
rules of the game
(
from the role of intellectual property to the
participation of the consumer in production as a
“prosumer”
Cambrian Explosion.
).
They have also taken the largest
organizations by surprise,
From a geological pers-
causing business models to
evolve rapidly and radically
in ways that challenge their
established and slow-to-adapt
structures.
pective, the term refers to
the sudden appearance of at least 11 of the 20
existing groups of macroscopic multicellular
complex organisms about
540 millions years ago,
The result has been a
producing an accelerated
diversification of living organisms on Earth.
Cambrian Explosion
of innovative business models, ideas and content.
146
*Engagement (demand)
“Consumption is the sole end and purpose of all production.”
Adam Smith
Engagement is the dimension that validates creative content through:
appropriation,
consumption,
transformation,
transaction, etc.
The individual acts as the validator of “symbolic utility”
(it is within her perception that content comes to life).
One of the most renowned and influential
artists of the 20th Century, Marcel
Duchamp, dared to declare that “the
creative act is not performed by the artist
alone; the spectator brings the work
into contact with the external world
by deciphering and interpreting its
inner qualifications and thus adds his
contribution to the creative act.”
The Fountain, one of his most
celebrated artworks, is perennial
proof of the validity of his opinion.
Marcel Duchamp (1887-1968)
Fountain, 1917
porcelain with black ink
(SFMOMA 1998, gift of Phyllis Wattis)
147
The Orange Economy
People access creative content by
consuming goods and services
through
“venues”
(commercial and non-commercial):
Television, radio, newspapers, magazines,
public transportation, YouTube, Netflix,
festivals, night clubs, etc.
Word of mouth.
The casual exchange of
information, such as
friends and acquaintances’ remarks about their
experiences and perception about an exhibition,
a film or a game. This
exchange used to be verbal, but nowadays it is
These venues are access points people go to or connect
with, either by chance or because their preferences
have been informed:
by marketing
(from the simplest to the most sophisticated)
and by critique
(both amateur and specialized).
increasingly happening
through SMS, Facebook,
Twitter, etc.
But what really matters most, at
the end of the day, is
“word of mouth.”
148
*Environment (institutions)
The environment
in which the
Orange Economy
operates is a
“battlefield” of:
“When we thought that we had all the answers,
suddenly all the questions changed.”
Mario Benedetti
regulation
public institutions
industry associations
international “consensus”
etc.
The world is imperfect.
Neither talent,
nor capital,
nor technology
are fairly distributed.
All social and economic systems require
some form of governance,
whether through an implicit agreement to respect
norms and behave with commonsense, or the forced
imposition of rules and controls. Governance provides
the system with both stability and legitimacy
by leveling the playing field by establishing
the rules of the game.
149
The Orange Economy
Such rules
include:
Private property, intellectual
property, workers rights, social
welfare, subsidies, taxes,
Human Rights, freedom
of speech, minority rights,
tolerance, participatory
mechanisms, etc.
Naturally, an attempt to analyze all of them and their many
interactions represents material for an entire book of its own.
Chapter 6 provides a preliminary approach to
the kind of interventions that Latin America
and the Caribbean (and the rest of the world)
should focus on, in order to squeeze the
developmental potential of the
Orange Economy
(The 7is).
150
> Orange Value Chain
“I can't understand why a person will take a year or two to write a
novel when he can easily buy one for a few dollars.”
Fred Allen
UNESCO's 200647 creative economy value
chain presents in a very simple way the
sequence through which content gets
transformed into goods and services.
It displays a pathway
from supply to demand,
from creation
to production,
to distribution
to commercialization,
and, finally, to consumption.
This process is accompanied by interventions in arts education
and heritage preservation that inform cultural life and thus the
development of creative content.
151
The Orange Economy
Based on this value chain, this book presents a model with three important additions
intended to facilitate a more comprehensive understanding of the process by which ideas
become goods and services appropriated by society:
1
2
3
Explicit recognition that amongst a broad base of ideas and
creations generated through innovation only a portion will become
commercially viable.
A feedback loop that demonstrates the critical role different
incentives can play at each stage of the value chain.
Emphasis on good governance and intellectual property as central
crosscutting conditions that facilitate the process, underscoring the
importance of institutions.
Supply
Demand
Ideas, Creation, Art,
Experimentation
Edition
Quality
Critique
Production
Distribution
Trends
Price
Commercialization
Preser vation, archives, museums, heritage…
Education, training, experience…
GOVERNANCE & INTELLECTUAL PROPERTY
Commercially viable
152
Consumption
> Kreatopolis
“There's no such thing as civilization. The word
just means the art of living in cities.”
Roger Zelazny
The term Kreatopolis comes from the Latin creare (creation), the Greek
polis (city state), and the makes-it-sound-cool use of k and to.
It is a concept in the making, created to define a future
vision of building a vibrant Orange Economy for Latin
America and the Caribbean (and the rest of the world),
with the idea of “mindfactures” becoming more
important than manufactures.
The Kreatopolis enriches urban
and rural populations both
materially and spiritually.
It integrates ideas, content,
communities, and creative
goods and services
in the joint project of sustainable social and economic
development.
Latin America and the Caribbean’s Kreatopoleis require settings
favorable to innovation, based on the interaction of the agents
mentioned that is facilitated by so-called
"creative cities."
153
The Orange Economy
At the end of the 1980s,
Many programs have been developed
around the concept of the creative city
by: UNESCO
the British author
Charles Landry
coined the term
the European Union,
and Canada,
among others, and the concept has in-
“Creative City”
as a place to live,
work and play.
This idea has been a springboard for the
work of a growing number of academics
and economic development agencies,
formed the creation of indexes
leading to the emergence of the complementary
concepts of
“creative hub” and “creative cluster.”
for city vitality and development.
154
Creative cluster and creative hub have
become particularly popular concepts
since 2002 with creation of the
Creative Clusters Seminars
by
Simon Evans.
The case studies of creative clusters and hubs
compiled by the Creative Clusters Seminars
present a rich array of experiences from
high impact advertising campaigns
to effective programs for social and
economic development.
Creative Cluster.
First presented in Sheffield, UK in
2002, the Creative Cluster Seminars
has had six editions, documenting
around 200 case studies of creative clusters and hubs from all over
the world.
Learning from such experiences will allow
“mindfactures” to become the key development engine
of our Latin American and Caribbean Kreatopoleis.
Chapter 6 presents seven
ideas to do so.
It will require the most creative minds,
the best ideas,
and the most cunning visionaries to realize this vision.
155
The Orange Economy
Key concepts:
to create goods and services. London’s
Soho and Buenos Aires’ Centro Metropolitano de Diseño (Metropolitan Center of Design) represent emblematic
cases of contemporary creative clusters.
The creative hub is a connection
center through which business clusters,
infrastructure, capital, talent and technology converge, regardless of their
geographical proximity. These hubs develop, produce and/or commercialize
the most sophisticated goods and services of the Orange Economy. For
example, Miami and Los Angeles are by
The creative cluster is a building,
far the largest hubs of Latin American
neighborhood, or just about any remusic in the US. Sao Paulo in Brazil is
latively small physical space in which
Orange Economy businesses are con- an important Latin American fashion
hub, while the most emblematic creative
centrated. As these businesses interact
with one another in a “coopetitive” way hub of all is, no doubt, Silicon Valley.
It is important to bear in mind that
(cooperating to grow the pie, competing to get a bigger share), they pool re- the creative city is not just a narrow
concept of a city where the Orange
sources and thus optimize their ability
156
Soho audiovisual
Centro Metropolitano de Diseño,
cluster, London
Buenos Aires
Economy plays a vital role in its
growth. Rather, it is a place where
Richard Florida’s Three Ts of Talent,
Technology and Tolerance converge,
allowing the creative city to come
ALIVE48 through:
Richard Florida.
•Attraction: a setting that captivates
talented locals and foreigners alike, and
attracts talent intensive enterprises.
•Lively Industry/Businesses: the
presence of successful hubs and clusters of creative businesses, protected
by an effective system of intellectual
property rights, and regulated in a way
that prevents monopoly.
•ICTs & Infrastructure: reliable
and economical access to content, from
the most high quality and sophisticated
infrastructure (public transportation,
broadband, roads, airports, etc.) all the
way down to the most basic functional
digital literacy.
•Visibility: international identification as a center of cultural excellence, attracting
tourists from diverse places and in large numbers
to enjoy its architecture, festivals, gastronomy,
museums, history, night-life, etc.
•Education: top-notch
professional schooling
Richard Florida is the world-recognized author of
The Rise of the Creative Class and an international consultant. Florida argues that up to the early
20th Century the power of cities was based on their
being centers of the large populations, natural resources and capital controlled by empires. This was
followed by an age in which the dominance of cities rested on their capacity to attract the investment
of corporations and thus create well-paid jobs.
Today, the value proposition for cities, according to
Florida, is in becoming magnets for talented people, which requires a tolerant environment as an
indispensable catalyst. Talent concentration has become the main driver of the investment that causes
technology and other innovative industries to concentrate in certain cities and not in others.
+ intelligent training
provision for professional skills development+ broad
opportunities for lifelong learning and
continuing education.
157
Once we are destined
to live out our lives
in the prison of our
mind, our one duty
is to furnish it well.
— Peter Ustinov
6. The 7is: ideas for
the development
of the Orange
Economy
There are no magical formulas for the design
of public policy.
However, it is always helpful to refer to the
pioneering work of people and organizations
that have had some success at it.
This chapter, however,
does not aim to
present those
experiences in detail,
(that might be the purpose of a
future work dedicated exclusively
to the 7is).
159
The Orange Economy
For now,
the 7is are presented here as an
introductory guide for the development
of public policy to support the Orange
Economy
offering a
practical
framework
for the development of comprehensive policies.
(If it feels like a collection of common
sense advice,
o
•I
n
• I n clu si o
ti o n
ra
te g
tr u
c tu
In d us
t
r
y
re •
•I
n
160
a ti
u ti o n s
•
I
n
n s ti t
fra
• I
s
that’s because we
seldom remember to
start by stating and
doing the obvious.)
n • I nfo r m
n
n
io
ira t
sp
i
1. nformation
Lack of information
is the
original sin
of the Orange Economy:
and is the result of
the mutual lack of
understanding between
the cultural and economic
fields as shown in
Chapter 1
along with
the technical
difficulties
exposed in
Chapter 3.
In order to overcome the
first of these obstacles, we
must continue to address
misperceptions.
161
The Orange Economy
Involving
more economists
and other experts in quantitative
analysis of the sector
needs to go hand in hand with a
more thorough effort in explaining to
cultural agents the virtue of informed
decision making based on cost-benefit
analysis and other tools often strongly
resisted by the traditional pundits of
the creative sector.
While the fundamental
response to overcoming the
technical difficulties was
shown in Chapter 3,
the information
pyramid presented
there will take some
time to implement.
162
In the mean time,
It is key to
continue
It is also crucial to
amplify efforts to
share and transfer
best practice.
with creative industries mapping studies and
addressing persistent information gaps in the Orange
Economy.
For instance, the satellite accounts of culture (CSC)
started in Colombia in late 2002 became the basis of a
methodological guide developed by the Convenio Andrés
Bello for statistical work on the creative economy to be
conducted by other countries across the region;
Argentina, Chile,
Costa Rica and Uruguay
have developed their own
“satellite accounts,”
while Bolivia, Brazil, Ecuador,
Guatemala and Peru
are close to completing their own exercises.
These developments promise to place Latin America and the
Caribbean at the forefront of Orange Economy information
(the only satellite accounts of culture outside the region are
those of Spain and Finland).
The topic has even gathered the interest of the United States, which has been working on
its own Arts and Cultural Production Satellite Account (ACPSA) since November 2012.
163
The Orange Economy
For enthusiasts:
Appendix 3 identifies a selection of industrial activities based on
the Orange Economy definition presented in Chapter 1 and their
coding in the United Nations’ International Standard Industrial
Classification 4th Revision (ISIC 4 Rev.).
Another key kind of information for the development of the Orange Economy is
non-monetary quantitative variables.
Some of them
are covered in
mappings studies;
for instance employment, number of books
produced, box office tickets sold, or number
of TV sets, radios, computers and Internet
connections per one thousand inhabitants.
Other non-monetary
quantitative variables
are captured by cultural
consumption surveys,
for instance per capita readership of books newspapers
and magazines, or average time spent watching TV,
playing videogames or surfing the Web.
164
And there are also a set of
variables regularly captured by
cultural infrastructure atlases,
for instance, the number of libraries,
museums, bookshops, archeological sites,
etc., their floor area, size of their collections,
and attendance figures.
In the end, all these
sources complement
and reinforce
one another;
Cultural Infrastructure Atlas
this is why it is so important that spaces for
Argentina and Mexico have led in the design and
implementation of cultural infrastructure atlases in
cooperation and collaboration are increased,
the region. Their experiences led the Inter-American Development Bank Cultural Center to create the
so experience can be transferred
Cultural Information System of the Americas (SICLA
being the acronym in Spanish). SICLA has helped
and basic concepts agreed,
to develop atlases for Costa Rica, Ecuador, Jamaica
and Peru, and by early 2014, a hemispheric exerci-
thus facilitating the identification
se including the 26 countries in Latin America and
the Caribbean that are members of the Bank will
of common benchmarks.
be complete.
165
The Orange Economy
i
2. nstitutions
Institutions for the development of the Orange Economy have been conspicuously absent from the strategic debates on social and economic development.
But the second half of the 20th
Century witnessed ministries
of culture springing up all
over the world
(as well as myriad trade organizations, rights
collection societies, and all kinds of NGOs),
creating and promoting cultural policy
aimed at the promotion of artists and
broadening access to cultural activities.
If there’s an origin to this
institutional model, it is
to be found in the French
Revolution and the creation
of the first modern public
museum in 1793: the Louvre.
This state patronage approach was developed
throughout the 19th Century along with the
consolidation of national identities
that today we take for granted, but that two hundred
years ago were comparatively non-existent.
166
Such paradigms, besides
generating important
advancements in the promotion
of the arts, are also responsible for common
misperceptions about cultural activities
as public goods despite their commercial
realities.
This is at the heart of the tension between understandings
of culture and economy mentioned in Chapter 1.
The challenge today is to overcome
the false dichotomy between cultural
development and economic development:
incorporating into the notion of culture
as a public responsibility the validation
of the commercial dimension of culture
and creativity, and its interaction with
technology, infrastructure, markets, etc.; integrating the mobilization and
organizational capabilities of NGOs with
economic notions of value creation in order
to displace the sector’s over-reliance on
public and charitable investment and allow
the cultural sector to partner with the public
and private sectors in terms of investment
rather than expenditure;
encouraging a change in social consciousness that promotes the
adoption of behaviors and norms of respect and appreciation for the
value of creative work and associated intellectual property rights.
167
The Orange Economy
Globalization and technology afford opportunities to address these
challenges with:
a truly open Internet for content markets, with minimum
legal access barriers or monopolistic competition;
universal access to the Internet (it should be elevated to a
fundamental human right; Finland did it in 2011);
and dynamic regulation protecting and enforcing intellectual property rights, without
limiting experimentation and access to content beyond what is reasonable to protect the
rights holders ability to benefit.
In order to build trust between the different agents of the Orange Economy
and society, we need to:
identify a vision of the future we want to share;
define a joint strategy to execute;
and work together to achieve it.
This is a journey that is just starting,
and it must remain open
counting
on broad
participation
168
{
governments + private sector + NGOs + community
=
rules that are legitimate, stable and flexible
i
3. ndustry
The Orange Economy
requires
Perhaps the first step is to recognize that
a lot of people involved in culture and
creative activities
keeping an ecosystem in balance that,
as explained in Chapter 5, involves a
number of different agents.
hate to talk about
money.
It’s then necessary to tell these people loudly and clearly that it
is important, actually very important, to learn as much and as
fast as they can about money:49
(For example, Leeds University
in the United Kingdom has
made a cycle of accounting,
marketing, and copyright
modules in its performing
arts program).
it is necessary to include training on
financial management within early
stages of training talent (including
within higher education)
169
The Orange Economy
Such training is key to challenge the barrier of distrust
that some creatives have for intermediaries
(from
to
down to
If the try-to-make-it-all-on-my-own mentality
is not left behind, it will be very difficult
to consolidate the networks
managers
lawyers,
–who doesn’t?-
retailers,editors
and investors,
among others).
that would make
it possible for a
Kreatopolis to be
something more than
an empty buzzword.
It is impossible to anticipate which content will find a
large audience.
It’s even more difficult to anticipate the “failures” that
will inspire the most successful business models
(not to speak of how long
certain content and business
models will remain relevant).
That is why public policy shouldn’t be in the business
of picking winners or creating “industry champions”
170
(as occurred with manufactures, airlines, and, even, with film
studios for the best part of the 20th Century).
Instead, the industrial development of the Orange
Economy must be focused on creating and sustaining
the equilibrium of a
“triangle of
innovation,”
as typified by the Silicon Valley experience that
includes:50
up
nt
me
on
vir
en
ild
bu
ess
l
ita
cap
ve
ati
Cre
Entrepreneurs
SUSTAINABLE
INNOVATION
sin
Bu
Con
ten
Wi
t (l
nd
ice
ow
ns
es)
-d
res
sin
g(
roy
alt
ies
)
Talent
(creatives and artists)
Risk capital
Business models
Investors
(angels and mentors)
(Own construction)
171
The Orange Economy
In practical terms, this means a public
policy balancing private initiative and
public investment
(from taxes to procurement),
including research funds, business
start-up funds, and the provision of
basic skills required by the market.
Developing intangibles is a very
different endeavor than developing
manufactures, because:
it takes time (it's cumulative);
the creative individual is complex
and unpredictable;
it is a risky and volatile process,
size and timing matters;
and it is all about
relationships and
connections not buildings.51
172
Talent must be lured,
inspired and nurtured, as is
indicated later in relation to
“inspiration.”
Entrepreneurship requires an environment that
providing time to test
new ideas
celebrates initiative,
–not just a once in a lifetime opportunity –
and allow for the creation
of niche markets.
And capital needs to be allowed to flow, doing its job of investing in diverse
activities, wining some “bets” and losing others.
to buy
{ The first persona phone
The same is true for
the first person
got something useless, and only after
other people were drawn into getting
their own phones did the first one
became valuable.
}
to download Skype,
create a Facebook profile,
or subscribe to Napster.
173
The Orange Economy
A recent report about
the digital future of
Australia by
Telestra and Deloitte Digital
highlights that in the previous economy, a company’s
value was measured by their assets;
their productivity was based on the
introduction of machines
and many were
therefore obsessed
with owning them.
Meanwhile, the value of digital businesses is
primarily based on the capabilities of individuals
they employ.
Many businesses
need a mentality
shift to understand
that nowadays
“the most valuable assets of a
modern enterprise go home
every day with the ability to
choose whether or not to come
back the next morning.”52
174
Many companies are still obsessed with building, buying and owning.
But,
the Orange Economy
is based on investing in
new capabilities,
in attracting and nurturing talent,
in rapidly and nimbly adapting to changing
conditions and ephemeral opportunities.
This is a conversation (not a lecture)
that comes with a few
implications, including
the need for collaborative
prioritization, personalization
and production.53
175
The Orange Economy
i
4. nfrastructure
This may be repetitive,
but it is worth
noting again that access
(virtual or physical) is key
to the Orange Economy.
The constant contact and
exchange between audiences,
content,
artists,
creatives,
entrepreneurs
and technologies
lies at its core.
Access and contact catalyze the
innovation that is generated by
the cross fertilization of ideas,
uses, interpretations, habits, etc.
176
And, of course, access allows
people to enjoy cultural
expressions, too.
The natural versatility of the Orange Economy’s activities
lends itself to connecting infrastructure in creative ways,
whether that infrastructure be:
physical
or virtual
(roads, squares, parks, stadiums,
coliseums, airports, shopping
malls, etc.)
(optic fiber, antennas, satellites,
copper wires, etc.).
In both cases, artists and
designers repurpose, enrich,
and animate spaces through
their creations.
It is important to recognize the ability
of creatives to transform
places and spaces,
and provide them with an environment and the
necessary tools (training and finance), so they can
connect resources in ways that facilitate the emergence
of creative clusters and innovation hubs.
177
The Orange Economy
Physical and virtual accessibility
Tolerance (censorship)
Co
e
nn
Open
i
iv
ct
ty
Shared
Secret
(+) Space
Closed
(-) Space
Although the Orange Economy connects
infrastructure, let’s not forget that part
of this infrastructure is particular to the
Orange Economy itself
(theatres,
museums,
The philosophy of the Orange Economy is
that bricks and mortar are means:
libraries,
etc.).
the end is the dynamic exchange
of ideas and experiences within
communities, networks, and
niche markets.
178
The opportunity to increase
connectivity is becoming
clear and gaining ground.
According to ComScore,54 the leading global company in
the analysis of digital trends,
Latin America was the fastest growing region for digital
usage last year. The region’s online audience growth
between March 2012 and March 2013 was
12 % 7 %
compared
with
and
5%
3%
1%
for Asia-Pacific…
for Europe…
for the Middle East
and North Africa…
for the United States
and Canada.
179
The Orange Economy
Latin Americans, on
average spend
some 26 hours a month online.
10 of which are dedicated to social
networking,
66%
about
more than the global average
( 94%
of this is on Facebook).
This confirms the stereotype of people in the region as
being highly sociable.
This also shows that Latin Americans have a propensity to exchange information and form
tastes based on word of mouth, a driving feature of the Orange Economy’s niche markets.
Infrastructure development (as needed as it is) must
go hand in hand with policies that encourage the
development of digital literacy.
180
i
5. ntegration
According to UNCTAD,55 only
Less than a third of
these exports go to
other countries in
the region
1.77%
of the world’s exports of creative goods
and services originate in Latin America
and the Caribbean.
(more than
64%
are directed to developed economies,
while less than 3% go to
other developing markets).
This would suggest that
achieving the necessary scale
of local markets required to
squeeze the Orange Economy is
never going to be attained.
In today’s world, content consumption is of a
niche nature.
Thanks to the Internet, those markets defy geography.
The region needs to integrate and stop being afraid of
regional competition.
181
The Orange Economy
A MICO (monkey in Spanish) needs to be
adopted:
Mercado
Interamericano de
Contenidos
Originales
(Inter-American Market of Original Contents)
It is strange, to say the least, that the region
has been opening its markets at a faster pace
to outsiders than to insiders.
As the then Prince of Wales pointed out in 1923,
“trade follows the film,”
and in doing so highlighted the important relationship between cultural
exchange and trade in a time of uncertainty due to:
new technologies,
emerging powers,
and a sour political
and economic environment.
(any resemblance to our times is, of course, a mere coincidence)
The benefit of a truly open market for the region’s content goes beyond culture, and opens
up the possibility of overcoming the difficult fact that Latin America and the Caribbean is
the least commercially integrated region in the world.
182
So, for the MICO (monkey) to truly thrive, it needs to eat seven co-cos
(coconuts in Spanish) in the form of seven lines of cooperation:
co-nurturing
co-creation
co-production
co-distribution
co-consumption
co-protection
co-investment
{
{
{
{
{
(to open up the training and support opportunities
available in any given country to all the artists and
creatives in the region)
(to open borders for artists and creative professionals,
so they can operate and collaborate everywhere)
(to cooperate nationally on the production, distribution
and consumption of creative goods and services of
all the other countries as is currently done through
audiovisual coproduction agreements, but for all types
of content and between all the countries in the region)
(to commit across the board to the enforcement of intellectual property rights, and to foster a culture of respect
and appreciation for creative work)
(to strengthen the mechanisms that facilitate public and
private capital investment across borders to support the
previous six co-cos)
The fact that most talented people in the region need to go to the United States or Europe
to gain access to regional and domestic markets does nothing for Latin America and the
Caribbean (in that it generates revenues and royalties to be collected and pocketed abroad).
183
The Orange Economy
i
6. nclusion
“We destroy others when we are incapable of imagining them.”
Carlos Fuentes
Orange Economy activities have
the proven capacity to generate
or regenerate the social
fabric of a community:
n
we
rm
s io
po
+
en
clu
Em
In
t
n
t re
En
identity
t
ipa
io
en
pr
eu
rs
h
ip
r
Pa
tic
including by opening
up avenues for being
productive, self-expressed,
and functioning members
of society
for at risk young
people who may be
considering or have
fallen
into the temptation
of drugs and crime,
and by empowering minorities of all kinds to become
beacons of economic progress.
184
The Orange Economy also has the ability to create
new jobs with relatively low levels of investment,
for example, by providing micro-loans
to support
community
participatory
projects.
Interesting examples of
this include the Cirque du
Soleil-inspired Circo Ciudad
(Circus City) in Bogota,
and Galpao Aplauso
(Applause Shed) in Rio
de Janeiro.
185
The Orange Economy
In addition, the
development of the
Orange Economy can
also help to bridge
social divides
(which are so
deep in the region),
bringing together the disadvantaged and
the privileged around a common agenda
(as shown by El Sistema in Venezuela
in the field of classical music).
Many are motivated to employ
the Orange Economy’s tools to
encourage social integration.
These people are often the type of
standout role models that both the
privileged and the underprivileged are
lacking; they are “beacons” of hope
(all they need is to be spotted, recognized, and celebrated, so their
experiences can be shared and reproduced more broadly).
186
i
7. nspiration
“I didn't fail the test, I just found 100 ways to do it wrong.”
Benjamin Franklin
Creativity does not happen in a vacuum.
By some accounts, creative
people need not only luck and
talent but also the opportunity
to accumulate the 10,000 hours
of practice
that are required in order to become
an overnight success.56
Innovation + Imagination + Instruction + Incentives + Individual = Inspiration
For the creative individual to be inspired,
models to follow and models
to challenge are required;
The 10,000 hours rule.
Malcolm Gladwell, the
best-selling author of Outliers: the story of success,
she needs the chance to appreciate the
work of other creatives;
she must also examine the past,
to interpret the present,
and to dream the future.
argues that talent is not
enough. Having access to
the means and the discipline to accumulate 10,000
hours of practice is essential to becoming a great artist, engineer, athlete, etc.
187
The Orange Economy
But she also needs an environment in
which
risk taking is valued:
Celebrating
experimentation
and mistakes as aspects of the
learning process;
not regarding a failure as anything other
than something going wrong;
and recognizing that selfexpression shouldn’t be
inhibited by any fear of
censorship.
Many Latin American artists and other
creatives suffer from a lack of recognition.
Artists are known across the region due to the Latin
Grammy in the case of musicians, or the Oscar in the
foreign language category occasionally awarded to a film
or documentary deemed to make the cut.
188
A key element of the co-nurturing concept
introduced in the integration section is the creation
of highly-visible regional awards in creative fields.
Models like Eurovision
once had an IberoAmerican equivalent in
the late OTI Festival.
Eurovision.
A continent-wide contest with a double purpose: fostering healthy
competition between
dozens of European
countries; and celebrating the diversity and
talent of their popula-
Initiatives like this need to
be created or restored,
tions, thus sharing and
promoting European artists at the local, regional and global levels.
and the psychological barrier of copying successful formats
needs to be overcome.
Granted, this is a task for which the
private sector is better suited, but
speeding up the process of catching
up from such a laggard position
will likely require the use of
public-private-partnerships (PPPs).
OTI Festival.
Had 28 editions
between 1972
and 2002.
189
The Orange Economy
Inspiring creatives also requires an educational system that
adapts more readily to changing circumstances.
Sir Ken Robinson, influential British writer
and educator made popular by his TED Talks,
argued that current education systems
“militate against the
creative forces of curiosity,
imagination and
intuition.”57
TED Talk:
Schools Kill
Therefore it is necessary to seriously consider digital literacy in the
current wave of education reforms,
Creativity
strengthen education in science, technology,
engineering, and mathematics
(STEM)
TED Talk:
Bring on the
learning
revolution!
and integrate arts and
design creativity into
technical curricula,
so they can be STEAMD by
everybody.58
190
The pre-launch of the latest version of the city-builder
simulator
SimCity59
represents a good example of
what can be achieved in the
dialogue between disciplines.
Five global urban
development
consulting firms
and the Fast Company
magazine team
–the organizers of the activity–
tested the game’s capacity to recreate reality
while providing
experts an opportunity
to test and
benchmark alternative
development models.
191
The Orange Economy
After the creative individual has managed to
accumulate
10,000 hours
of practice;
and has acquired the required
knowledge and experience;
and finds a tolerant
environment for her
novel ideas;
and is confident that her achievements will be
celebrated and recognized,
she will still need
–in the words of Ben Vewayeen, former CEO of British Telecom-
a dog,
a chair,
and a computer
The dog to wake her up.
The chair to sit down and work.
And the computer to connect
with the world.60
192
Did “i” miss something?
Whether they start with an “i” or not,
there are certainly additional elements
that need to be considered when
attempting to design public policies for
the development of the Orange Economy:
issues of local context and cultural specificity;
agreement on the definition and classification of sub-sectors;
special considerations
(of which there are
never a shortage);
and, without doubt,
new technologies.
193
Offensive football is
infinite, endless. So it
is easier to defend than
to create. Running is
a decision of the will,
creating requires the
indispensable requisite of
talent.
— Marcelo Bielsa
7. Squeeze the orange
Sir Tim Berners-Lee,
the father of the World Wide Web, reminds
us that the Digital Revolution is still
underway,
that “the Web as [he] envisaged it,
we have not seen it yet.
The future is still so
much bigger than
the past.”61
“Squeezing” the economic contribution of arts,
culture, and creativity requires us to understand
and find a balance between:
- the new consumption mantra of
“sharing 2.0” (to possess less while
sharing more… a lot more)
- the accelerated experimentation
with business models and alternate
use of digital technologies that
leads to rapid innovation
195
The Orange Economy
- the understanding that the
empires of the mind are not
built with buildings but with
communities
- and a creative, flexible
and systematic approach
to public policy.
This manual has introduced the following basic ideas
to help us to better understand the Orange Economy,
particularly to:
-define it
-understand the important opportunities it presents
-measure it using numbers
-recognize the size of its economic contribution
-better comprehend its dynamics
-envision policies to support its continued development.
Now it is your turn;
196
help us create an Orange Economy movement.
197
The Orange Economy
1
st
Adopt and adapt the concepts introduced in this manual to better grasp the nature of the times we are living in,
and to envision effective ways of taking advantage of the
opportunity that it presents to the 107 million young people living in Latin America and the Caribbean today.
About ten million “digital
natives” have the potential
to join the ranks of
creatives every year,
and so they can imagine better than most adults (digital migrants), the innovations that can emerge from
the integration of technology and culture.
Latin America and the Caribbean need to become early adopters of innovative practices, instead of waiting
for others to show the way.
Fight Club.
Feature film, starring Edward Norton as the hapless employee of
an important carmaker company
(the narrator), whose insomnia
There’s an empire of the mind that we can build together. Having been late for the first two industrial revolutions, here’s our chance to be the vanguard of a
lucky third.
leads to the creation of an alter
ego: Tyler Durden. Played by Brad
Pitt, Durden becomes the leader
of a group of frustrated men that
find a purpose for their lives in the
“friendly” fights they engage in
night after night.
198
If we were to conceive the Orange
Economy as the Fight Club, Tyler
Durden would say that the first rule of
the Orange Economy is: you do not
talk about the Orange Economy.
2
nd
Let the figures shown in this manual inspire you to look at the
Orange Economy with different eyes.
That the value of global exports of
goods and services is double that of
Saudi Arabia’s oil, or that jobs related to the exploitation of
copyright in the United States are more productive than the national average,
and that the world’s Orange Economy
is larger than the German Economy
(the fourth largest on the planet),
are merely indicators of scale.
That the methodologies to account for
national economic activities are adapting to
better capture these kinds of figures,
or that creative goods and services exports
are growing at nearly double the speed of
their military equivalent,
Change in the National
Account System.
Following the methodological adjustment published by the United
and that content related value chains are
adapting with ease to rapidly changing
business models,
States Census Bureau in
July 2013; the GDP figure is
3.6% larger than expected. This means that 560
are indicators that something was hidden
from our view.
billion dollars - the equivalent of the economies
of Colombia and Peru
Tyler Durden, no doubt, would insist that the
second rule of the Orange Economy is: you
DO NOT talk about the Orange Economy.
combined-were not being accounted for.
199
The Orange Economy
3
rd
Acknowledge the work of artists and creatives,
but do not limit yourself to recognizing the aesthetic value of their works and designs as being beautiful or interesting.
Also, acknowledge that their work
represents a legitimate job, a real job
that creates employment, wealth,
and, economic opportunity.
It is a job that requires 10,000 hours of practice, most of which are
accumulated during childhood and teenage years.
After investing so many resources to develop the skills that convert a seemingly
inexhaustible source of style, imagination, and energy into talent,
and asking our young people to put
so much effort and commitment into
developing their craft over decades,
it is only fair for us to give them the chance to demonstrate what they are able to do with their talent.
The third rule of the Orange Economy is: celebrate creating, producing,
distributing, and commercializing artistic and creative content as real jobs.
200
4
th
Recognize the rights of the millions working in the
Orange Economy:
just as you want your
property rights to be
recognized;
just as you want your hard work
to be properly rewarded;
just as you want your knowledge and talent to provide
you with the economic independence you deserve;
in JUST SUCH A WAY,
acknowledge the rights of
artists and creatives to their
intellectual property, and thus
allow their hard work and
knowledge to be valued and
respected.
There are many legitimate ways to access creative content for
free without undermining the rights of creators. Understand and
respect intellectual property rights.
The fourth rule of the Orange Economy is:
culture is not free.
201
The Orange Economy
5
th
Take advantage of Orange Economy opportunities in
your work.
Maybe you are in the private sector and you have been inspired with new business
ideas, or now see the opportunity to develop a “corporate cultural
responsibility” program.
Or maybe you are in the public
sector and are imagining better
ways to promote content as a
development tool for your country, your city,
or your community; or maybe you think
that by employing the tools presented in
this manual, you can realize projects you
wouldn’t have recognized as having any relationship to the Orange Economy.
Lets review the 7is:
The fifth rule of the Orange Economy is: it is not just about increasing the number of businesses or creating better policies for
the development of the Orange Economy, but about integrating
more of the Orange Economy into business and public policy.
202
6
th
Celebrate all the goods and services of Latin America and the
Caribbean as your own.
Help the Orange Economy of the
region to become integrated.
Nobody can do it alone. Scale is necessary to make the
most out of the opportunities associated with the Orange
Economy. This requires the region to open inward as
much or more than it is opening outward.
For content to add more value to
the region’s exports to the rest
of the world, it is key for the region to maximize intraregional
trade of its own content.
To tear down the barriers that limit the opportunities associated
with the Orange Economy in Latin America and the Caribbean,
we need to first tear down the psychological barrier of cultural
protectionism.
The sixth rule of the Orange Economy is: let
the MICO (Monkey) have its seven co-cos.
(see pages 182 and 183)
203
The Orange Economy
7
th
Be part of the debate about the future of the Orange Economy.
Ideas and concepts about
the Orange Economy are not
absolute.
They are open for discussion.
Now that you know them,
let us know what you think
@BIDCultura
Share this manual with a relative, friend, or
colleague.
You can also lend them your copy, but bear
in mind that books have pride and they seldom return when they are let go.
After all, the seventh rule of the Orange
Economy is: the Orange Economy is
a conversation, not a lecture.
204
Spread the word!
205
The Orange Economy
Gratias vovi ago
Far from trying to present the truth, the whole truth and nothing but the truth about the Orange Economy, we wanted to
fuel a debate that we consider important.
We believed it would take an unexpected and informal presentation to bring attention to the vast amount of material generated by the academics and specialists who preceded us.
We thank all of them for their inspiration, example,
and the way that they have shared their ideas with us.
Many people close to us, personally and professionally, contributed with their insights and patient counsel, at times by accident, to the development of this manual:
from the inspiring format of the work developed by Juan Henriquez of As the Future Catches You, which has been superbly
executed and enriched by the professionalism, patience and
talents of the team at .Puntoaparte Bookvertising:
Andrés Barragán, Mateo Zúñiga, and Erik Naranjo
to the direct input from colleagues that life has made friends:
Liliana Ortiz lending her idea about the pyramid of information for cultural statistics
Gloria Cajavilca ensuring that the intellectual property
annex was complete and made sense
to the professionalism and support of the IDB Cultural Center
team:
206
Elba Agusti, Hugo Bahamon, Debra Corrie, Maria Luisa
Garabelli, Soledad Guerra, Fadrique Iglesias, Gerardo
Martínez-Freyssinier and Anne Vena
to the constructive comments of our colleague and friend Silvia
Dangond
to the support, confidence and patience of the project by the
Manager of the Office of External Relations Marcelo Cabrol
to the leadership and vision of our President Luis Alberto Moreno, without which this book could not have been conceived
to the generosity of time, ideas, enthusiasm and advice from
many relatives, friends and colleagues:
Ángela Carreño, Leyla Castillo, Hector Conroy, Martha Galindo, Jessica Gesund, Adriana Herrera, Margarita López,
and Ángela Restrepo
to all of them, for everything:
thank you very much, with all our
heart.
Ivan and Felipe
Washington, DC, August 2013
207
The Orange Economy
208
Notes
209
The Orange Economy
1.
Well known British author of “The Creative Economy” (2001, with
2.
Howkins, John. The
revisited editions in 2007 and 2013), the work coining for the first time the term
Creative Economy. Allen Lane The
“creative economy”, offering key definitions and concepts that are the basis for
Penguin Press, London, 2007 pag. 86
many contemporary works, among which can be counted UNCTAD’s reports The
Creative Economy 2008 and The Creative Economy 2010. For his figure, Howkins considered all gross sales (both of the intangible value and of the carrier
3.
mediums) of the industries base on Copyright, patents, trademarks, and design.
from World Bank 2011 and Howkins (2007)
5.
4.
Own production with data from Stockholm International Pea-
Own production with data
Own production with data
from Oxford Economics at The Economic
ce Research Institute (SIPRI). Military Expenditures Database. Last consulted
Impact of the Creative Industries in the
June 28 2013 (http://milexdata.sipri.org/files/?file=SIPRI+military+expendi-
Americas (2013). Pending publication;
ture+database+1988-2012.xlsx) y del World Military Expenditures and Arms
commissioned by the Organization of American
Transfers (WMEAT) report 2012 US Department of State. Last consulted July
States (OAS), the Inter-American Development
8 2013 (http://www.state.gov/documents/organization/209508.pdf)
Bank (IDB), and the British Council.
6.
7.
Own production with data from Stockholm International Peace
Oxford Economics at The
Research Institute (SIPRI). TIV of arms exports from all, 2004-2012. Last consulted
Economic Impact of the Creative Industries
July 8 2013 (http://armstrade.sipri.org/armstrade/html/export_values.php)
in the Americas (2013). Pending publication;
commissioned by the Organization of American
States (OAS), the Inter-American Development
8.
Own production with data from International Trade Centre
(ITC). Trade Map – International Trade Statistics. Last consulted June 28 2013
(http://www.trademap.org/open_access/Product_SelProduct_TS.aspx)
210
Bank (IDB), and the British Council.
9.
For 2009, the World Military
Expenditures and Arms Transfers (WMEAT) report
10.
Energy Information Agency of the US. OPEC Revenue Fact Sheet. Last
consulted July 28 2013 (http://www.eia.gov/countries/regions-topics.cfm?fips=OPEC)
2012 of the US State Department estimates
exports military goods and services with a value
of 113 billion dollars (Last consulted July 8 2013
-http://www.state.gov/t/avc/rls/rpt/wmeat/2012/
11.
index.htm). In contrast, according to estimated
nomic Impact of the Creative Industries in the Americas (2013). Pending
of the ITC, the tenth most traded merchandise
publication; commissioned by the Organization of American States (OAS),
is “pearls, precious stones, metals, coins, etc.”
the Inter-American Development Bank (IDB), and the British Council.
Own production with data from Oxford Economics at The Eco-
with exports in 2012 of 348 billion dollars.
12.
United Nations Conference on Trade and Development (UNC-
TAD). Creative Economy Report 2010. United Nations 2010. Pag. 126
13.
United Nations Conference on Trade
14.
Own production with data from Motion Picture Association of
and Development (UNCTAD). Creative Economy
America, Inc (MPAA) en el 2012 Theatrical statistics summary (Last consulted June
Report 2010. United Nations 2010. Pag. 23
28 2013 -http://www.mpaa.org/resources/3037b7a4-58a2-4109-8012-58fca3abdf1b.pdf) and from NationMaster.com at Media Statistics: Cinema attendance (most recent) by country (Last consulted July 8 2013 -http://www.
nationmaster.com/graph/med_cin_att-media-cinema-attendance)
15.
eMarketeer. Tablets Quickly Become Major Home Entertainment Device. Last consulted July 8 2013 (http://
www.emarketer.com/Article/Tablets-Quickly-Become-Major-Home-Entertainment-Device/1008350)
See also: Chou, David. How Mobile Kills the Console But Advances the Gaming Industry en wired.com January 31
2013. Last consulted July 8 2013 (http://gamrconnect.vgchartz.com/thread.php?id=154166&page=)
211
The Orange Economy
16.
Website: Apple Inc. Last consulted July 8 2013
17.
Wikipedia search Three Gorges Dam Last consulted
(http://www.apple.com/itunes/50-billion-app-countdown/)
July 8 2013 (http://en.wikipedia.org/wiki/Three_Gorges_Dam)
18.
19.
The Economist. Money, Money, Money. Publicado
Website: Cirque du Soleil Last consulted July 8
en línea May 3 2013. Last consulted July 8 2013 (http://www.
2013 (http://www.cirquedusoleil.com/en/home.aspx#/en/
economist.com/blogs/graphicdetail/2013/05/daily-chart-1)
home/about/details/cirque-du-soleil-at-a-glance.aspx)
and Wikipedia search Cirque du Soleil Last consulted July
8 2013 (http://es.wikipedia.org/wiki/Cirque_du_Soleil)
20.
Ciudad Autónoma de Buenos Aires, Observatorio de
Industrias Creativas. Anuario de Industrias Creativas Ciudad de
Buenos Aires 2011. Buenos Aires: Ministerio de Desarrollo Económico
21.
del Gobierno de la Ciudad de Buenos Aires, 2012 (http://oic.mdebue-
(https://signup.netflix.com/MediaCenter/Facts)
Website: Netflix Last consulted July 8 2013
nosaires.gov.ar/contenido/objetos/AnuarioOIC2011.pdf) Pags. 19 a 31
23.
22.
Leguizamón, Manuel; Moreno, Edgar; Tibavizco,
Website: Google Cultural Institute Last consulted July 8
2013 (http://www.google.com/culturalinstitute/about/artproject/)
Nancy. "Impacto turístico del Festival Iberoamericano de Teatro de
Bogotá". Universidad Externado de Colombia, Bogotá, D.C., 2013
(http://www.pasosonline.org/Publicados/11113/PS0113_06.pdf)
25.
Website: YouTube Last consulted August 23 2013
(http://www.youtube.com/yt/press/statistics.html). See also:
24.
Bloomberg. Carnival Puts Some Samba in Brazil's
Cuen, David. La otra revolución visual en BBC Mundo April 23 2013.
Economy: The Ticker. Online since February 23 2012 (Last consulted
Last consulted July 8 2013 (http://www.bbc.co.uk/blogs/mundo/
July 8 2013 - http://www.bloomberg.com/news/2012-02-23/car-
un_mundo_feliz/2013/04/la_otra_revolucion_visual.html)
nival-puts-some-samba-in-brazil-s-economy-the-ticker.html)
212
26.
En sitio web de la Organi-
27.
United Nations Conference on Trade and Development (UNC-
zación de las Naciones Unidas para la
TAD). Creative Economy Report 2010. United Nations 2010. Naciones Uni-
Educación, la Ciencia y la Culutra (UNESCO)
das 2010. Pags. 7-10 (http://unctad.org/en/Docs/ditctab20103_en.pdf)
consultado por última vez el 8 de junio
de 2013 (http://www.unesco.org/bpi/pdf/
memobpi25_culturalindustries_en.pdf)
28.
World Intellectual Property Organization (WIPO). Gui-
de on Surveying the Economic Contribution of the Copyright-Based Industries. WIPO, 2003. Pags. 26-35 (http://www.wipo.int/export/sites/
29.
At Burns Owens Partnership
www/freepublications/en/copyright/893/wipo_pub_893.pdf)
Consulting. Guía práctica para mapear
las industrias creativas. British Council,
London, 2010. Pags 13-16 (http://www.
30.
odai.org/biblioteca/biblioteca1/22.pdf)
Caribe (SELA). Incentivo a las Industrias Culturales y Creativas en América Latina y el Ca-
At Secretaría Permanente del Sistema Económico Latinoamericano y del
ribe. SELA, Caracas, 2011. Pag. 15 (http://www.sela.org/attach/258/EDOCS/SRed/2011/06/
T023600004770-0-Incentivo_a_las_Industrias_Creativas_y_Culturales-_Di_08-11.pdf)
31.
Quartesan, Alessandra; Romis,
Monica; Lanzafame, Francesco. Cultural
Industries in Latin America and the Caribbean:
32.
Challenges and Opportunities. Inter-Amercian
www.youtube.com/watch?v=GiPe1OiKQuk)
Press conference segment in video (http://
Development Bank (IDB), Washington, DC, 2007.
Pags. 4 y 5 (http://www.iadb.org/en/publications/publication-detail,7101.html?id=4527)
33.
Enriquez, Juan. As the Future Catches You.
Three Rivers Press, New York 2001. Pag. 163
34.
Enriquez, Juan. As the Future Catches You.
Three Rivers Press, New York 2001. Pag. 162
213
The Orange Economy
35.
This and many other funny figures in YouTube:
36.
Sony. Conso-
- Did you know? The power of the Internet (http://www.youtube.com/watch?v=TQcLRIwSXZU)
lidated Financial Results
-Economist “Did you know?” (http://www.youtube.com/watch?NR=1&v=C2jDOkzrVew&feature=endscreen)
for the Fisrt Quarter Ended
-Mobile Technology – Connecting the World
June 30, 2013. Last consulted
(http://www.youtube.com/watch?feature=player_embedded&v=cl7ccx8oBfw)
August 26 2013 (http://
-The seventh billion economist.com/video
www.sony.net/SonyInfo/IR/
(http://www.youtube.com/watch?v=UAIv15fWfHg&feature=em-subs_digest-vrecs)
financial/fr/13q1_sony.pdf)
37.
Inspired by Newbigin, John at “La
38.
Manyika, James; Chui, Michael; Bughin, Jacques; Dobbs, Ri-
economía creativa: una guía introductoria”.
chard; Bisson, Peter; Marrs, Alex. Disruptive technologies: Advances that
British Council, London, 2010 (http://www.
will transform life, business, and the global economy. McKinsey Global Ins-
odai.org/biblioteca/biblioteca1/21.pdf)
titute, McKinsey & Company. May 2013. Last consulted June 8 2013
39.
CEPAL. Economía digital
para el cambio estructural y la igualdad.
40.
Naciones Unidas, Santiago de Chile 2013.
ring Capital for the 21st Century. The International Bank for Reconstruc-
Pags. 97-101 (www.cepal.org/Socinfo)
tion and Development/World Bank, Washington, DC, 2006. Pag. 26
41.
42.
Enriquez, Juan. As the
World Bank. Where is the Wealth of Nations: Measu-
Centro de Estudios Regionales Cafeteros y Empresariales CRECE. Guía
Future Catches You. Three Rivers Press,
para la elaboración de mapeos regionales de las industrias creativas. Ministerio de
New York 2001. Pags. 148 y 203
Cultura de Colombia and British Council, Bogotá, DC, 2005. Pag. 31 (http://www.
sinic.gov.co/SINIC/CuentaSatelite/documentos/Guia%20Mapeos%20Regionales.pdf)
214
43.
Burns Owens Partnership Consulting.
44.
United Nations Organization for Science, Education and Cultu-
Guía práctica para mapear las industrias creativas.
re (UNESCO) at Creative Economy Report 2010 from the United Nations Con-
British Council, London, 2010. Pag. 11 (http://
ference on Trade and Development (UNCTAD). Pag. 109 (http://unctad.org/
www.odai.org/biblioteca/biblioteca1/22.pdf)
en/Pages/DITC/CreativeEconomy/Creative-Economy-Programme.aspx)
45.
46.
Original concept by Liliana Patricia
Ortiz, adapted for this manual by the authors.
Original concept at: Luco, Javiera; Buitrago, Felipe. Una venta-
na a la economía creativa de Valparaíso. A study commissioned by CODESSER for the Programa Industrias Creativas Valparaíso of CORFO (2010).
47.
Burns Owens Partnership; Pratt,
Andrew; Taylor, Calvin. A framework for the
48.
cultural sector: A report for UIS/UNESCO,
mework for Future Prosperity. British council, 2008 (http://www.bri-
Paris, 2006. En Creative Economy Report
tishcouncil.org/lebanon-creative-lebanon-full-report.pdf)
Inspired by Stephen Hill in Creative Lebanon: A Fra-
2010 by the United Nations Conference on
Trade and Development (UNCTAD). Pag. 98
49.
Kleon, Austin. Steal Like an Artist. Workman
Publishing Company, Inc. New York, 2012. Pag. 121
50.
Bakhshi, Hoasan; Hargreaves, Ian;
and Mateos-Garcia, Juan. A Manifesto for the
Creative Economy. NESTA, 2013. Pag. 57-58 (http://
51.
www.nesta.org.uk/library/documents/A-Mani-
(http://www.bristol.ac.uk/red/about/swrda/reflections-and-lessons.pdf) Pag. 14
South West Region Development Agency (SWRDA), September 2011 report
festo-for-the-Creative-Economy-April13.pdf)
52.
Telstra Corporation Limited and Deloitte Digital. Taking Leadership in a Digital Economy. November 2012. Pag. 14 (http://www.
telstra.com.au/business-enterprise/download/document/business-telstra-deloitte-digital-taking-leadership-in-a-digtal-economy.pdf)
215
The Orange Economy
53.
Mithun, Campbell, video in You-
54.
ComScore, presentación Futuro Digital Latinoa-
tube.com - Last consulted June 28 2013 (http://
mérica 2013 - Last consulted June 28 2013 (http://es.slideshare.
www.youtube.com/watch?v=atk2AyL9KF0)
net/MercadoNegroAD/futuro-digital-latinoamerica-2013)
55.
UNCTADSTATS – official site of the United
Nations Conference on Trade and Development (UNC-
56.
TAD) Last consulted June 23 2013 (http://unctadstat.
Little, Brown and Company, Nueva York 2008. P. 35-68
Gladwell, Malcom. “Outliers: The Story of Success”.
unctad.org/ReportFolders/reportFolders.aspx)
57.
En Bakhshi, Hasan; Hargreaves, Ian; and
Mateos-Garcia, Juan. A Manifesto for the Creative Economy.
58.
Bakhshi, Hasan; Hargreaves, Ian; and Mateos-Garcia,
Juan. A Manifesto for the Creative Economy. NESTA, 2013 . Pag. 51
NESTA, 2013. Pag. 105 (http://www.nesta.org.uk/home1/
assets/features/a_manifesto_for_the_creative_economy)
60.
Newbigin, John. La economía creativa: una
guía introductoria. British Council, 2010. Pag. 32 (http://
59.
Co.Exist, innovation blog by the Fast Com-
www.odai.org/biblioteca/biblioteca1/21.pdf)
pany group- Last consulted June 28 2013 (http://www.
fastcoexist.com/1681515/using-the-new-sim-city-6-urban-planners-battle-for-bragging-rights#1)
61.
En Bakhshi, Hasan; Hargreaves, Ian; Ma-
teos-Garcia, Juan. A Manifesto for the Creative Economy.
NESTA 2013. Pag. 11 (http://www.nesta.org.uk/library/documents/A-Manifesto-for-the-Creative-Economy-April13.pdf)
216
Appendices
217
The Orange Economy
Appendix I
Kinds of Intellectual Property and the Main International Agreements
The Trade Related Aspects of Intellectual Property Rights (TRIPS) on 1 January 1995 (http://
bit.ly/102apend) is transversal to the four recognized forms of intellectual property:
1.Copyright (http://bit.ly/101apend practical guide)
A. Copyright (exclusive content creators)
a. Moral rights (attribution and editing)
b. Economic Rights (commercial use)
i. reproduction
ii. public performance
iii. recordings
iv. broadcasting
v. translation or adaptation
B. Related Rights (extended to performers, producers and distributors of content)
a. Performers
b. Producers of sound recordings
c. Broadcasters
Treaties relating to copyright:
i. Bern Convention for the Protection of Literary and Artistic Works of September 9, 1886
Works. * Last Modified, Paris July 24, 1971 (http://bit.ly/103apend)
ii. International Convention on the Protection of Performers, Producers of Phonograms and Broadcasting Organizations. From October 26, 1961 (http://bit.
ly/104apend)
iii. The WIPO Copyright Treaty (WCT) of 20 December 1996 (http://bit.ly/105apend).
iv. The WIPO Performances and Phonograms Treaty (WPPT) of 20 December 1996
(http://bit.ly/106apend).
v.Beijing Treaty on Audiovisual Performances (adopted by the Diplomatic Conference
on the Protection of Audiovisual Performances in Beijing on June 24, 2012) (http://
bit.ly/107apend).
218
2. Industrial Property (http://bit.ly/108apend practical guide) The Paris Convention for
the Protection of Industrial Property, the September 28, 1979 (http://bit.ly/109apend), is
transversal to four out of six forms of industrial property. Layouts and trade secrets are
covered only by the TRIPS 1995.
A. Patents = inventions + utility models
• Cooperation Treaty (PCT), Washington (1970), as amended in 1979 and 1984
(http://bit.ly/110apend).
• Treaty on the Law of Patents, adopted by the Diplomatic Conference on June 1,
2000 (http://bit.ly/111apend).
B. Industrial Designs
C.Layouts
D.Brands
a. Distinctive signs and slogans
•Nice Agreement Concerning the International Classification of Goods and Services for the Registration of Trademarks of 15 June 1957, as revised at Stockholm
(1967) and Geneva (1977), as amended in 1979 (http://bit.ly/112apend)
•Under the Madrid Protocol for the Trademark Law Treaty of 1989 (http://bit.
ly/114apend)
• Treaty on the Law of Trademarks, 1994 (http://bit.ly/115apend).
b. Geographical indications and designations of origin
•Lisbon Agreement for the Protection of Appellations of Origin and their International
Registration, as amended on September 28, 1979 (http://bit.ly/116apend)
E. Trade Secrets
F. Unfair Competition
The Convention on Biological Diversity (CBD) of the United Nations December 29, 1993
(http://bit.ly/117apend), is that it gives recognition to:
3. Traditional knowledge (practical guides and http://bit.ly/118apend y http://bit.ly/119apend)
4. Vegetal varieties and biodiversity International Convention for the Protection of New
Varieties of Plants (UPOV) 1998 (http://bit.ly/120apend)
219
The Orange Economy
Appendix II
Methodology and Sources
The basis of the information presented in Chapter 4 of this manual was collected by the
study entitled The Economic Impact of the Creative Industries in the Americas (2013 )-commissioned to the consulting firm Oxford Economics by the Organization of American States,
the Inter-American Development Bank and the British Council. This study has not been
published at the date of preparation of this text, however, the final report and their reporting tables will be downloadable from www.iadb.org/cultural.
For shares in the economy and employment taken as reference, the following two cuts
were made:
1. First cut: studies on the economic contribution of copyright-based industries of
the World Intellectual Property Organization (WIPO). This source was privileged because is the only one that offered a comparable methodology in a wide range of
countries for the last decade. Additionally it is the source that throws more consistently comparable results on the participation of these industries in the economy
and employment. These are the countries for which WIPO data was used (base
year of reference): Canada (2002), Colombia (2006), Dominica (2009), United States (2011), Granada (2009), Jamaica (2005), Mexico (2003), Panama (2006), Peru
(2009), Saint Kitts and Nevis (2009), St. Lucia (2009), St. Vincent and the Grenadines (2009), Trinidad and Tobago (2011), China (2006), and South Korea (2009).
2.
220
Second cut: complementary studies collated by the Oxford Economics report that
are also validated by the IDB’s own Cultural Industries in Latin America and the
Caribbean: Challenges and Opportunities (Lanzafame et al, 2007). For these studies we also took supplementary information. These are the countries for which
the supplementary data was used (year for the latest available results, source):
Argentina (2011, the latest figure INDEC), Barbados (2004, ECLAC and Creative Industries Development Strategy -Report of the ERC Services Subcommittee Work-
group on creative Industries), Brazil (2011, results of a study of FIRJAN - only the
amount reported as principal activities), Chile (2009, the latest figure of cultural
satellite account), Ecuador (2001, Andres Bello -without employment data), Guatemala (2009, Ernesto Piedras - the Competitive Intelligence Unit), Paraguay (2010,
SCIPY), Uruguay (2005, Ministry of Culture and WIPO), Venezuela (2001 Convention
Andrés Bello- without employment data), Spain (2008, INE satellite account - without employment data), and the UK (2007, Annual Business Inquiry, Office for
National Statistics).
Data for years other than 2011 were assumed to be a fixed percentage. In order to determine their contribution the economy for each country was used the 2011 GDP figure
published by the World Bank, in current dollars.
For employment the base reference was 2011 Oxford Economics projections on employed labor force (total available workforce net of unemployment).
For the referenced contributions to international trade, all data are from UNCTAD as collected by the Oxford Economics report. For all countries 2011 was made the base line, with the
following exceptions (most recent year available): Cuba (2006), Dominica (2010), El Salvador (2010), Honduras (2009), Jamaica (2010), Trinidad and Tobago (2010), and Uruguay
(2009).
The aggregates on the Americas were based on the 35 independent countries of the hemisphere. This was done to raise the baseline for the economy, employment and trade, both
at the hemispheric level and at the Latin America and the Caribbean level, so reducing the
relative share of the Orange Economy in our calculations.
221
The Orange Economy
Appendix III
Orange Economy Activities Classification - OEAC
Conventional Cultural Industries (100)
Code
Sector
110
Publishing
Subsector
111
Books, newspapers and magazines
112
Graphic industry (printing)
113
Edition
114
Literature
115
120
Bookstores
Audiovisual
121
Film
122
TV
123
130
Video
Phonographic
131
Radio
132
Recorded music
222
Arts and Heritage (200)
Code
Sector
210
Visual arts
Subsector
211
Painting
212
Sculpture
213
Installations and video art (performance art)
214
Performance art
215
Photography
216
Fashion - haute couture
220
Performing arts and public shows
221
Theatre, dance and puppets
222
Orchestras, opera and zarzuela
223
Concerts
224
Circuses
225
Organized impro (happenings)
226
230
Fashion - catwalk
Tourism and material and immaterial cultural heritage
231
Crafts, antiques, lutherie and typical products
232
Gastronomy
233
Museums, galleries, archives and libraries
234
Architecture and restoration
235
Natural parks and eco-tourism
236
Monuments, archeological sites, historic quarters, etc.
237
240
Traditional knowledge, festivals, carnivals, etc.
Cultural and artistic education
223
The Orange Economy
Functional Creations, New Media and Software (300)
Code
Sector
310
Design
Subsector
311
Interior
312
Graphic art and illustration
313
Jewelry
314
Toys
315
Product
320
Advertising
330
Content software
331
Videogames
332
Other interactive audiovisual contents
333
Digital content media support
340
Fashion – Prét-a-porter
350
News agencies and other information agencies
Creativity supporting activities (400)
Code
Sector
410
Creative research, development and innovation: Orange R+D+i
420
Professional creative education
430
Technical skills development for creative activities
440
Governance and Intellectual Property Rights
224
Section
C
C
C
C
C
C
C
C
C
C
C
C
OEAC
340
340
340
340
340
340
340
340
340
120-130
120-130
120-130
18
18
18
15
15
15
15
15
14
14
14
14
Division
181
181
152
151
151
151
143
142
141
Group
1811
1520
1512
1511
1430
1420
1410
Class
Printing
Printing and service activities related to printing
Printing and reproduction of recorded media
Manufacture of footwear
Manufacture of luggage, handbags and the like, saddlery and harness
Tanning and dressing of leather; dressing and dyeing of fur
Tanning and dressing of leather; manufacture of luggage, handbags, saddlery and harness;
dressing and dyeing of fur
Manufacture of leather and related products
Manufacture of knitted and crocheted apparel
Manufacture of articles of fur
Manufacture of wearing apparel, except fur apparel
Manufacture of wearing apparel
Description
International Standard Industrial Classification (ISIC) Rev. 4 with corresponding OEAC code
Appendix III
225
Section
C
C
C
C
C
C
C
C
C
C
J
J
J
J
J
OEAC
120-130
226
120-130
315
315
231-313-314
231-313-314
313
313
231
314
111-330
111-330
111
111
111
58
58
58
58
58
32
32
32
32
32
32
31
31
18
18
Division
581
581
581
581
324
322
321
321
321
310
182
181
Group
5813
5812
5811
3240
3220
3212
3211
3100
1820
1812
Class
Publishing of newspapers, journals and periodicals
Publishing of directories and mailing lists
Book publishing
Publishing of books, periodicals and other publishing activities
Publishing activities
Manufacture of games and toys
Manufacture of musical instruments
Manufacture of imitation jewellery and related articles
Manufacture of jewellery and related articles
Manufacture of jewellery, bijouterie and related articles
Other manufacturing
Manufacture of furniture
Manufacture of furniture
Reproduction of recorded media
Service activities related to printing
Description
The Orange Economy
Section
J
J
J
J
J
J
J
J
J
J
J
J
J
J
J
OEAC
111
330
120-130
120-130
120
120
120
120
130
120-130
130
120
350
350
350
63
63
63
60
60
60
59
59
59
59
59
59
59
58
58
Division
639
639
602
601
592
591
591
591
591
591
582
581
Group
6391
6020
6010
5920
5914
5913
5912
5911
5820
5819
Class
News agency activities
Other information service activities
Information service activities
Television programming and broadcasting activities
Radio broadcasting
Programming and broadcasting activities
Sound recording and music publishing activities
Motion picture projection activities
Motion picture, video and television programme distribution activities
Motion picture, video and television programme post-production activities
Motion picture, video and television programme production activities
Motion picture, video and television programme activities
Motion picture, video and television programme production, sound recording and
music publishing activities
Software publishing
Other publishing activities
Description
227
Section
J
M
M
M
M
M
M
M
M
M
N
N
N
N
OEAC
350
228
234
234
410
410
320
320
215-310
310
215
120-130440
120-130440
120-130
440
77
77
77
77
74
74
74
73
73
72
72
71
71
63
Division
774
772
772
742
741
731
722
711
639
Group
7740
7722
7420
7410
7310
7220
7110
6399
Class
Leasing of intellectual property and similar products, except copyrighted works
Renting of video tapes and disks
Renting and leasing of personal and household goods
Rental and leasing activities
Photographic activities
Specialized design activities
Other professional, scientific and technical activities
Advertising
Advertising and market research
Research and experimental development on social sciences and humanities
Scientific research and development
Architectural and engineering activities and related technical consultancy
Architectural and engineering activities; technical testing and analysis
Other information service activities n.e.c.
Description
The Orange Economy
Section
O
O
O
P
P
P
P
P
R
R
R
R
R
R
OEAC
440
440
440
240-420
420
240-420
240
240
210-220230
210-220-230
233-235236
233
233-236
235
91
91
91
91
90
90
85
85
85
85
85
84
84
84
Division
910
910
910
900
854
854
853
852
841
841
Group
9103
9102
9101
9000
8542
8530
8522
8412
Class
Botanical and zoological gardens and nature reserves activities
Museums activities and operation of historical sites and buildings
Library and archives activities
Libraries, archives, museums and other cultural activities
Creative, arts and entertainment activities
Creative, arts and entertainment activities
Cultural education
Other education
Higher education
Technical and vocational secondary education
Education
Regulation of the activities of providing health care, education, cultural services and other
social services, excluding social security
Administration of the State and the economic and social policy of the community
Public administration and defence; compulsory social security
Description
229
Section
R
R
R
R
OEAC
220
230
220
220
220
93
93
93
93
Division
932
932
932
Group
9329
9321
Class
Other amusement and recreation activities n.e.c.
Activities of amusement parks and theme parks
Other amusement and recreation activities
Sports activities and amusement and recreation activities
Description
The Orange Economy
Appendix IV
Seven topics with recommendations for the enthusiast (and that were also inspiring for the
Orange Economy):
1. International instruments
• MONDIACULT 1982, the first multilateral recognition of the potential of culture for
economic development (bit.ly/301apend)
• Convention on the Protection and Promotion of the Diversity of Cultural Expressions, UNESCO (bit.ly/302apend)
2. Pioneering work in Latin America and the Caribbean
• The Third Side of the Coin of the Andrés Bello Agreement (bit.ly/303apend), triggering the Economy & Culture program from which cultural industries mappings were
performed in:
• Colombia (bit.ly/304apend)
• Peru (bit.ly/305apend)
• Chile (bit.ly/306apend)
• Venezuela (bit.ly/307apend)
• Study on the economic importance of industries and activities protected by
copyright and related rights in the countries of MERCOSUR and Chile WIPO
(bit.ly/308apend)
• How Much is Culture Worth? Economic Contribution of the Copyright Protected Industries in Mexico by Ernesto Piedras (bit.ly/309apend)
• Cultural Industries in Latin America and the Caribbean: Challenges and Opportunities by the Inter-American Development Bank (bit.ly/310apend)
• UNCTAD report on the Creative Economy (2008 and 2010) (bit.ly/311apend)
3. Satellite Accounts of Culture
• Argentina (bit.ly/312apend)
• Brazil (bit.ly/313apend)
• Colombia (bit.ly/314apend)
• Chile (bit.ly/315apend)
• Uruguay, an excellent video to understand what a satellite account is (bit.ly/316apend)
231
The Orange Economy
4. Measuring methods
• UN’s International Standard Industrial Classification Revision 4 with most relevant
major changes to differentiate the cultural and creative systems of national accounts (bit.ly/317apend)
• WIPO’s Guide for Determining the Economic Contribution of Copyright-Based Industries (bit.ly/318apend)
• Methodological Guide to Produce Regional Mapping of the Creative Industries by
the Ministry of Culture of Colombia and the British Council
(bit.ly/319apend)
• UNESCO’s Framework for Cultural Statistics of UNESCO (bit.ly/320apend)
5. International pioneering work
• T-shirts and Suits: A Handbook for the Business of Creativity by David Parrish
(translated to Spanish in 2009) (bit.ly/321apend)
• Creative Industries Mapping by the Department of Culture Media and Sports in the
UK (DCMS) (bit.ly/322apend)
• The Rise of the Creative Class: And How It Is Transforming Work, Leisure and
Daily Life by Richard Florida
• The Creative City: A Handbook for Urban Innovators by Charles Landry
• The Creative Economy: How People Make Money from Ideas by John Howkins
• Several works by Andy Pratt (bit.ly/323apend)
6. More recent work
• Creativity and Prosperity: the Global Creativity Index by the Martin Prosperity Institute (bit.ly/324apend)
• Practical Guide to Map the Creative Industries (bit.ly/325apend) and Creative Economy: An Introductory Guide (bit.ly/326apend) by the British Council
• The Economics of Cultural Policy by David Throsby (bit.ly/327apend)
• A manifesto for the Creative Economy by NESTA (bit.ly/329apend)
• Disruptive Technologies: Advances that will Transform Life, Business and the Economy by the McKinsey Global Institute (bit.ly/330apend)
232
7. Videos and Articles to reflect on
Paradigm shift from Sir Ken Robinson (bit.ly/331apend).
Begin the Third Industrial Revolution, video by The Economist (bit.ly/332apend).
Convergence of communications media, video by The Economist (bit.ly/333apend).
The Digital Future of Latin America 2013, presentation by ComScore (bit.ly/334apend).
The Number Seven Billion, video by The Economist (http://bit.ly/335apend).
3D Printing, video by The Economist (bit.ly/336apend).
Country Brand Index Report, by FutureBrand (bit.ly/337apend).
The Creative Economy of Los Angeles, report by OTIS (bit.ly/338apend).
The 7is, video by Ivan Duque (bit.ly/339apend).
RSAnimate series of the Royal Society for the Encouragement of the Arts in the UK
(bit.ly/340apend).
• Mobile Technology - connecting the world of MobileWorldLive (bit.ly/341apend).
• Reinventing the Home: The Internet of Things, video by The Economist
(bit.ly/342apend).
• Big Data, video by The Economist (bit.ly/343apend).
•
•
•
•
•
•
•
•
•
•
233
The Orange Economy
Creative Process
234
235
The Orange Economy
236
237
The Orange Economy
238
239
Thanks.
@idumaes
Ivan is IDB’s Chief of the Division of Cultural Affairs, Solidarity and Creativity. With over ten years experience in economic
and financial affairs at the Ministry of Finance of Colombia, he
has also been the Executive Director from Colombia at the IBD,
Senior Advisor in the Department of Political Affairs of the UN,
a private consultant, college professor, author, columnist and
commentator in various media. He is the author of the books
Machiavelli in Colombia (2007) and Monetary Sins (2010), as
well as numerous articles on Orange Economy related topics.
Ivan studied law at the Sergio Arboleda University (Bogotá), and also holds degrees in Public Policy Management from
Georgetown University (Washington, DC) and Economic Law
from American University (Washington, DC), along with executive studies in business and government at Harvard University
(Cambridge, MA).
"The Orange Economy crisply encapsulates with great originality the power
and potential of the industries of the imagination and creativity – let’s hope it
creates the impact and influence it deserves."
Charles Landry, author of The Creative City: A Toolkit for Urban Innovators.
"Felipe Buitrago and Ivan Duque have provided a highly original and perceptive analysis
of creativity and innovation. Their starting point is a profound understanding of the creative economy but their greater achievement is the imagination and skill with which they
describe how it relates to everything else and what it means for all of us. I believe the
Orange Economy will become part of the language everywhere."
John Howkins, author of The Creative Economy: How People Make Money From Ideas.
“The Orange Economy contributes by didactically decanting the complex economic dimension of culture. It thus articulates the basis for formulating an Integrated Cultural Policy, in accordance with the symbolic, fiscal,
digital, and educational particularities of the cultural sector.
Ernesto Piedras,
author of How Much is Culture Worth? Economic Contribution of the Copyright Protected Industries in Mexico.
Latin America and the Caribbean are amidst a key moment of economic and social development. After a decade of rapid growth based on increasing export commodity prices in an
expanding world economy, the region now faces the challenge of consolidating the accumulated wealth and progress it has achieved. To achieve this consolidation, the region is faced with
ISBN 9 789587 586046
the opportunity of cashing in the so-called demographic dividend. The Southeast Asian tigers and
China have already done so by the massive absorption of millions of farmers in their cities and manufacturing industries. Latin America and the Caribbean will have to be more creative. Integrating 107
million young people economically and socially will require a lot of imagination. The Orange Economy is a manual to understand that it is in the imagination of our artists and creatives that we find
one of the most effective ways to seize opportunities in an era of disruptive technological change to
become a force in the global knowledge economy.

The Orange Economy - source url - Inter

Transcription

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